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CHAN 3103(2) CHANDOS O PERA IN ENGLISH

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Wolfgang Amadeus Mozart (1756–1791) Lebrecht Collection Lebrecht Idomeneo, King of Crete Dramma per musica in three acts Libretto by Giovanni Battista Varesco after Antoine Danchet’s Idomenée English translation by David Parry Idomeneo, King of Crete...... Bruce Ford tenor Idamante, his son...... Diana Montague mezzo-soprano Ilia, Trojan princess, daughter of King Priam...... Rebecca Evans soprano Electra, princess, daughter of Agamemnon...... Susan Patterson soprano Arbace, the King’s confidant ...... Ryland Davies tenor High Priest of Neptune ...... Nicolai Gedda tenor Voice of Neptune ...... Clive Bayley bass

Orchestra and Chorus of Opera North Philip Sunderland assistant conductor/chorus master David Parry

Wolfgang Amadeus Mozart

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The version of Idomeneo to be found on this Mozart, we also omitted Arbace’s first aria, recording is exactly that which Tim Albery feeling that it was probably retained for and I prepared for the production at Opera diplomatic rather than purely artistic reasons: North in 2002. We aimed for a theatrically without it the role of Arbace becomes, as it tight version while trying to remain close to should, truly secondary. Mozart’s apparent intentions. It is absolutely We retained, however, Electra’s final aria, clear that there is no authenticity in producing which Mozart cut. Mozart’s observation was a complete version of the opera: Mozart made that it was dramatically crass for the rest of the severe cuts for the first production. It could be cast to leave the stage before the aria only to re-

argued that some of these were necessitated by appear as soon as it is over for the final scene. Munich/Lebrecht© INTERFOTO, Music the poor quality of some of the singers, in There is truth in this; but Tim Albery solved particular the Idamante, who, from Mozart’s the problem brilliantly by keeping the other description, appears to have been wooden and characters on stage to watch Electra’s descent boring. It is clear, however, that most of the into madness in horrified silence, a deeply cuts were made to produce a compelling and disturbing moment which helped us, the convincing dramatic whole. audience, to understand and empathise with We accordingly cut most of the arias that her plight. In addition, it is one of the most Mozart did, including Idamante’s aria in Act thrilling arias that Mozart wrote. And, in its II, Arbace’s aria in Act III and Idomeneo’s final closing passage, technically very demanding. aria. In the case of the latter two we retained Perhaps it was beyond the first Electra? the accompanied recitatives, as Mozart seems We also departed from Mozart’s decisions to have done. This lends an almost Wagnerian by omitting the ballet after the action is over. quality to passages in the opera, where Surely there can be few artistic grounds on narration and conversation take precedence which to quibble with in such a decision. over formalised arias. The preponderance of What you will hear is a rendition of intensely dramatic and beautifully inflected Idomeneo as a compelling music-drama, not as recitative is indeed a startling feature of the an over-long museum piece. work, a feature which is lost if too much of Costume design for Idomeneo by the more formalised music is restored. Unlike © 2004 David Parry Lorenzo Quaglio

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COMPACT DISC ONE Time Page Time Page

1 Overture 4:33 [p. 74] 14 ‘This lonely shore’ 4:37 [p. 78] Idamante, Idomeneo Act I 15 ‘The father I love dearly’ 2:49 [p. 79] 2 ‘When will the gods release me’ 3:59 [p. 74] Idamante 3 ‘Father, my brothers, forgive me!’ 3:31 [p. 74] Ilia Intermezzo 4 ‘Ah! He is coming’ 2:34 [p. 74] 16 March – Ilia, Idamante ‘May Neptune be honoured’ 4:12 [p. 79] 5 ‘I am guiltless and yet you blame me’ 5:42 [p. 75] Chorus Idamante 6 ‘Here are the few wretched Trojan victims’ 0:45 [p. 75] Act II Ilia, Idamante 17 ‘We are alone; listen, Arbace’ 3:58 [p. 80] 7 ‘The war is over’ 2:23 [p. 76] Idomeneo, Arbace, Ilia Chorus 18 ‘My father was taken’ 5:31 [p. 81] 8 ‘Prince, my lord, you insult the Greek nation’ 2:34 [p. 76] Ilia Electra, Idamante, Arbace, Ilia 19 ‘How should I interpret words so ambiguous and 9 ‘The King dies… and I am friendless!’ 1:51 [p. 77] disturbing?’ 2:10 [p. 81] 10 ‘I feel you writhe inside me’ 3:18 [p. 77] 20 ‘Saved from storms, the storm within me rages’ 6:02 [p. 82] Electra Idomeneo 11 ‘Relent! Heaven, relent!’ 1:05 [p. 77] 21 ‘What pleasure could be deeper than mine is?’ 1:29 [p. 82] Chorus 22 ‘Dearest creature, that I know you love another cannot 12 Pantomime hurt me’ 6:09 [p. 82] ‘We have been saved at last’ 3:18 [p. 77] Electra 13 ‘The ghost of my victim’ 3:58 [p. 78] TT 76:46 Idomeneo

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COMPACT DISC TWO Time Page Time Page

1 ‘You shores of Crete’ 0:51 [p. 82] 14 ‘Most unfortunate land!’ 3:22 [p. 88] Electra Arbace 2 ‘Calmly the sea is calling’ 4:02 [p. 82] 15 ‘Raise your eyes for a moment, your highness’ 4:31 [p. 88] Chorus, Electra High Priest, Idomeneo 3 ‘You must set sail, Prince’ 0:31 [p. 83] 16 ‘Oh, oh vow past redemption’ 4:47 [p. 88] Idomeneo, Idamante Chorus, High Priest 4 ‘If I must leave, I beg you’ 3:43 [p. 83] 17 March 1:27 [p. 89] Idamante, Electra, Idomeneo 18 ‘Oh mighty ocean god, we beg you hear us’ 3:07 [p. 89] 5 ‘The storm winds are howling’ 1:31 [p. 84] Idomeneo, Chorus Chorus 19 ‘Highness, our hero, the prince Idamante’ 1:13 [p. 89] 6 ‘I am the one, merciless Neptune, the culprit’ 1:50 [p. 84] Arbace, Idomeneo Idomeneo 20 ‘Father, my dearest father…’ 5:47 [p. 89] 7 ‘Disaster! Run faster to flee such a horror!’ 1:28 [p. 84] Idamante, Idomeneo, Ilia, High Priest Chorus 21 ‘Your love has triumphed: Idomeneo shall rule no more’ 2:32 [p. 90] Voice of Neptune Act III 22 ‘The gods show mercy!’ 1:11 [p. 91] 8 ‘Here, alone but not lonely’ 0:56 [p. 84] Idomeneo, Idamante, Ilia, Arbace, Electra 9 ‘Heav’nly breezes, soft and gentle’ 5:44 [p. 84] 23 ‘The woes of my brother invade and destroy me’ 3:08 [p. 91] Ilia Electra 10 ‘Noble princess, if I dare to seek you out again’ 3:25 [p. 85] 24 ‘Cretans: this shall be the last decree Idomeneo will 11 ‘At the moment such words were uttered’ 2:53 [p. 86] pronounce’ 5:41 [p. 91] Idamante, Ilia Idomeneo 12 ‘(What do I see here?)’ 2:00 [p. 86] 25 ‘Bless their love, bless their devotion’ 1:23 [p. 91] Idomeneo, Ilia, Idamante, Electra Chorus 13 ‘Alone the earth I wander’ 5:28 [p. 87] TT 72:49 Idamante, Ilia, Idomeneo, Electra

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woven music into his life so tightly as this one.’ as here, omitted. For a private performance in Mozart: Idomeneo There Mozart made many musical friends who Vienna in 1786, Mozart made appreciable were to take part in Idomeneo. He began revisions, mostly shortening the score. Idomeneus, in Greek legend, son of Deucalion, given in Munich on 29 January 1781. work on the opera before leaving Salzburg on At this early stage in his career – he was grandson of Minos and Pasiphaë, and King of Mozart’s librettist, the Salzburg pastor, 5 November. His writing of the score is twenty-five at the time – he was still learning Crete. He courted Helen and took part in the Giovanni Battista Varesco, simplified documented in letters home to his father, who his craft. He was most anxious to ensure the Trojan War. According to Homer’s Odyssey, he Danchet’s plot and changed the ending from sometimes acted as an intermediary between opera worked in theatrical terms so that, in the returned home safely with all his countrymen tragic to happy. Five acts were reduced to three the composer and his librettist. course of its preparation for the stage, he made who survived the war. In later tradition, having to conform to the ‘reformed’ operas of Gluck. Mozart reported home on the singers’ a number of cuts. Their restoration in recent been overtaken by a violent storm, he vowed to Indeed the influence of that composer’s Alceste reactions – predominantly favourable – and on times, when authenticity has been much to the sacrifice to Poseidon [Neptune] the first living can be felt in the more high-flown, hieratic the local Elector’s approval of the music that fore, has been the subject of much discussion thing that met him when he reached home. This passages of Idomeneo while the arias owed he heard in rehearsal. The premiere, attended and some controversy. Mozart, oddly, kept proved to be his son, whom he slew in much to the style of Italian lyricism. by Leopold Mozart, was well received. It had Arbace’s arias and the concluding ballet at accordance with his vow; whereupon a plague Mozart received the commission from the evocative designs by Lorenzo Quaglio, then a Munich, but excluded Electra’s final and broke out and Idomeneus was driven out… Munich Intendant [Director], Count Seeau, noted figure in his field. At sixty-six, Raaff amazingly original aria in which she goes So says my thirty-five-year-old copy of during the summer of 1780. It is thought that may have found his music, involving a great berserk; it has been sensibly restored here. Encyclopaedia Brittanica, and that was the basis the aging tenor Anton Raaff, for whom Mozart deal of coloratura, somewhat taxing, although The piece, which is now readily for an opera by Campra to a libretto by conceived the title part, may have been Mozart was careful not to take him too high acknowledged as Mozart’s first fully-fledged Antoine Danchet, first presented at the Paris instrumental in gaining the commission for too often. The Wendling sisters-in-law, who masterpiece in the opera house, lay for many Opéra in 1712. At the end of Campra’s opera Mozart. Most of the singers and players were had worked with Mozart in Mannheim, took years in neglect. Contemporaneously, Mozart Idomenée, Idomeneus, a bass, goes mad, slays known to the composer from his time in the two female roles: Dorothea was Ilia, was, naturally enough, keen for more Idamantes, his son, and is prevented from Mannheim where he had recently spent four- Elisabeth took Electra. Idamante was written performances in different places, but it was suicide only by the intervention of his retinue. and-a-half happy and rewarding months at the for a castrato (for Vienna Mozart re-wrote the not until five years after the premiere that it Recently revived by the baroque conductor court theatre. It was a city, the Palatine capital, part for a tenor); the role was taken by a was taken up, in Vienna, then only for one William Christie, it has been revealed as a where the arts flourished. Under the benign relatively inexperienced singer, Vincenzo dal concert performance given by amateurs at the masterly tragédie lyrique in its own terms, and influence of the enlightened theatre director Prato, whom Mozart had to nurse. Domenico Auersperg Palace. As already mentioned, probably influential on Mozart. Carl Theodor, music was the thing at de Panzacchi, who sang the tenor part of the Idamante became a tenor resulting in changes That work was certainly the principal Mannheim. It was said at the time: ‘It would confidant Arbace, insisted on two arias. in the ensembles. He was also given a long source of the libretto to Mozart’s work, first be hard to find another great man who has Neither is memorable, and they are frequently, new aria with violin obbligato (not, of course,

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included here) and a shorter and musically work in The Musical Times: ‘Once Mozart feelings at the relevant moment in the There is still more to the score’s different duet with Ilia in Act III. became involved in re-creating the drama construct. The outsider Electra is portrayed as extraordinary novelty, and that is to be found When the opera was revived early in the through his art, it called forth some of the most that, never quite integrated into the musical or in its ensembles. Never before in opera have twentieth century in German-speaking lands, it personal and passionate music he ever wrote.’ dramatic texture. Ilia develops during the such extended pieces depicting the varied was often in deleterious adaptations by such as The central aria for Ilia, ‘Se il padre perdei’ course of the opera from a lovelorn, sad girl feelings of the participants been so lengthily Richard Strauss and Bernard Paumgartner. It (‘My father was taken’, CD1, track 18 ) in into an almost heroic woman willing to and unerringly expressed. I am thinking in only came into its own, praised in all quarters, Act II, is a long, sensuous outpouring for a sacrifice her life to her beloved Idamante: the particular of the trio, ‘Pria di partir’ (‘If I must when Glyndebourne staged it famously in lyric soprano of the utmost beauty in terms of prolonged episode in which he is prepared for leave’ CD2, track 4 ) in Act II and the 1951, thanks largely to the inspiration of the line and feeling, in which strings support sacrifice and her timely intervention never fails surpassingly eloquent quartet ‘Andro ramingo conductor Fritz Busch and the director Carl wonderful wind solos. No wonder Dorothea to move the heart in any decent performance. e sol’ (‘Alone the earth I wander’ CD2, Ebert. They employed a tenor Idamante and Wendling expressed herself ‘arcicontentissima’ To almost as great an extent Idamante travels track 13 ) in Act III. In each the separate lines conflated the editions. Most recently (2003) (overwhelmingly contented) with her music. from boy to man in a series of forthright arias of the characters run their course Simon Rattle performed it there with every bar As Electra, Elisabeth was equally pleased and duets. Arbace, in spite of, or perhaps independently yet provide a coherent unity. Mozart first composed for Munich, a with her music, as well she might be, given the because of being deprived of his arias, is a These foretell the similar wonders of the questionable decision as it means the work lasts variety of moods in which she shows her sympathetic adviser to the King, and has an da Ponte operas. almost as a long as a Wagner opera. conflicting emotions. The main singers were accompanied recitative of inward reflection in Then there are the magnificent choruses, in Elsewhere it has gradually gained respect in more cause of concern. As already noted, the centre of the work. which the confused populace expresses its many houses although even today its place in Raaff’s age was a problem, and he had a very At the centre of things is the titular ruler. changing emotions. Most original of all is that the regular repertory is not wholly ensured: it is conservative outlook. Dal Prato (Idamante) After relief at his safe delivery from the storms at the end of Act II ‘Corriamo, corriamo’ more often performed at festivals. That may was compared by Mozart to a choirboy, ever and Neptune, he becomes a tortured soul on (‘Disaster! Run faster to flee such a horror!’ have something to do with the static nature of ready to go wrong vocally and dramatically. meeting his son on the seashore. He is quite CD2, track 7 ) in which the crowd reacts the story and the fact that the genre of opera Mozart’s concept goes far beyond the unable, till almost the last, to decide on desperately to Idomeneo’s confession. It doesn’t seria into which it falls is not always to popular pleasures and whims of his first cast. In every the sacrifice of his son that he has undertaken come to a true cadence, leaving the audience taste. In a way, it ought to be a piece for special aspect, the writing is new-minted, long- to make through his injudicious vow. His as concerned as the participants – a occasions on account of its greatness in terms of breathed in structure and consequence, and it music graphically portrays the agony within masterstroke. Then the intervention of both projecting raw emotions in music of depth and probes psychological depths unheard of in the man. A tenor such as Bruce Ford with a the High Priest and Neptune, the latter as a surpassing beauty, also for its affecting most of its predecessors, the best of mind as well as a voice, can create a figure deus ex machina in Act III are both striking orchestration. As the eminent Mozart scholar Monteverdi and Gluck possibly apart. Mozart who is at once deeply troubled and vulnerable and original, Mozart bringing in the Daniel Heartz wrote in a notable essay on the finds the appropriate music for each character’s but also noble. trombones for the first time in the latter.

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So the ear is constantly stirred by fresh sounds between her hatred of the Cretan enemy and Act II Act III and ideas. her burgeoning love for Idamante, son of the 17 Idomeneo tells Arbace of his vow to 8 – 10 Idamante has decided that the only In purely musical terms, the instrumental absent Idomeneo. However, she fears that he Neptune. Arbace advises the king to send both way to stop the devastation which is being invention is as apt as one would expect from already loves Electra, daughter of Idamante and Electra to her homeland, wreaked by the monster is to destroy it. Mozart. Harmonic daring is of the essence in Agamemnon, who is living in exile on Crete. Argos. With Idamante out of the way, another Fearing that he will not survive, Ilia confesses depicting the starkness of the drama, and key 4 – 7 Idamante sets free Ilia and the means might be found to placate the angry her love for him. 11 As the couple celebrate relationships seem to be arranged to prisoners and confesses his love for her, but Neptune. their love, 12 – 13 Idomeneo arrives with accommodate the development of the story. she hides her own feelings towards him. 18 Ilia comes to thank Idomeneo for her Electra and orders his son to leave Crete Even the construction of the recitative is more 8 Arbace arrives with news of Idomeneo’s freedom, asking him to take the place of her immediately, although he does not reveal to varied and striking than in earlier opera seria. death in a storm at sea. 9 Electra, who had dead father. 19 – 20 The king realises that him the reason for this apparently unloving Such a complex yet immediate work always hoped that Idomeneo would, on his return, Idamante and Ilia are in love with each behaviour. has new things to reveal to the attentive choose her to marry Idamante, is despairing, other. He decides that his son must be to 14 Arbace laments that the gods have listener. In all cases of my long experience of 10 – 11 especially when she observes blame far Neptune’s wrath because of his forsaken Crete. 15 – 17 The High Priest the work, it has never failed to stimulate the Idamante’s love for Ilia. love for Ilia and his freeing of the Trojan describes the devastation of the island: the ear and move the heart, culminating in the 12 – 13 Idomeneo has survived the prisoners. streets running with blood, littered with the unbearably raw, tender emotions of Act III. storm by vowing to Neptune that he will 21 – 22 Electra is happy to leave Crete, dead and dying. Idomeneo at last admits that sacrifice the first living being he should hoping that once Idamante is separated from his own son, Idamante, is the one who must © 2004 Alan Blyth meet on reaching land. 14 – 15 Idamante, Ilia, he will be willing to accept her love. be sacrificed. searching for the body of his father among 18 As the sacrifice is being prepared, sounds Synopsis the shipwrecked, encounters him, but COMPACT DISC TWO of rejoicing are heard. Idamante has neither recognises the other. Idomeneo triumphed over the monster. 19 Idomeneo, COMPACT DISC ONE knows only that, in accordance with his 1 – 4 Before their ship can set sail a violent realising that this will enrage Neptune still vow, this man must be the promised sacrifice. storm breaks out. 5 Believing that Neptune further, knows that he can no longer prevent 1 Overture Eventually, the truth of their identity must still be punishing them, the Cretans the death of his son. 20 Idamante accepts that emerges, and Idomeneo pushes his son away demand to know who has angered him. he must die in order fulfil his father’s vow. Act I in despair, leaving Idamante bewildered and 6 – 7 Idomeneo admits that he is guilty, Idomeneo is about to sacrifice him when Ilia 2 – 3 Ilia, daughter of the defeated King unhappy. and challenges Neptune, demanding that he demands that she should be killed in his place. Priam of Troy, is among the Trojan prisoners 16 The people of Crete celebrate the safe himself should be the one to die. Out of the 21 At this, the voice of Neptune is heard, being held captive on Crete. She is torn return of the fleet. storm a monstrous creature emerges. declaring that love has prevailed: Idomeneo

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must give up his throne and install Idamante especially for him, including The Royal Opera operas of Mayr, Donizetti, Pacini, and Rossini, four heroines in The Tales of Hoffmann). She as the new ruler, with Ilia at his side. 22 – 23 (Rossini’s Otello) and the festivals of for which he receives consistently favourable made her Metropolitan Opera debut in 1998 Electra rages at the foundering of her hopes. Glyndebourne (Ermione) and Pesaro (Zelmira, reviews. Ford’s triumphant portrayals of as the Italian Singer in Strauss’s Capriccio. 24 – 25 Idomeneo commends Idamante and Rossini’s Otello). He has also appeared at La Mozart’s Mitridate (The Royal Opera) and La traviata has been a particularly dominant Ilia to the people. Scala, the opera houses of Naples, Florence, Oreste in Ermione (Glyndebourne) can be seen opera in Susan Patterson’s career and she has and Bologna; and Maggio Musicale Fiorentino on video/DVD. After nearly two decades on performed it with many companies including © 2004 and the Salzburg Festival. Almaviva in Il stage, the tenor’s repertoire is still expanding, San Francisco Opera, New York City Opera, barbiere di Siviglia – the role he has performed and he has recently added the title roles in Lyric Opera of Chicago, Palm Beach Opera, American tenor most frequently in his career to date – was the Mozart’s operas La clemenza di Tito and Michigan Opera Theatre, Baltimore Opera and Bruce Ford is firmly vehicle for his debuts at The Royal Opera, the Idomeneo. in Vancouver and Montreal. It was as Violetta

Bill Cooper Bill established as one of Metropolitan Opera, Los Angeles Opera and For Chandos’ Opera in English series he has that she made her European debut with Welsh today’s most Dallas Opera. recorded two discs of Great Operatic Arias and National Opera under Sir Charles Mackerras. outstanding singers. His concert appearances have included a disc of Viennese Operetta. Other performances include Manon Lescaut He has earned high performances in such renowned venues as La (Spoleto Festival Opera USA); Falstaff (Atlanta praise for his Scala, the Edinburgh Festival, Carnegie Hall Susan Patterson has Opera); Ernani (Netherlands Reisopera); extraordinary vocal and the Amsterdam Concertgebouw, and he is taken her place as a Mozart’s Fiordiligi and Constanze, Donna Anna, beauty and range, a sought after recitalist. Conductors he has new leading lirico Donna Elvira, Anne Trulove; Marguerite (Faust) textual vividness, worked with include Claudio Abbado, spinto soprano with (San Francisco Opera); Rosalinde (Die authoritative style, Riccardo Muti, Sir Charles Mackerras, Richard highly successful Fledermaus), Musetta and Gilda. In Europe she and technical prowess, as well as for his Bonynge, Sir Roger Norrington, Sir Colin performances with has sung at La Scala, Milan (Cherubini’s expressive acting ability. He is a regular guest Davis and David Parry, to name but a few. English National Lodoïska under Riccardo Muti); the Netherlands in major houses throughout North America Bruce Ford has documented much of his Opera (Dvorˇák’s Opera (Le Comte Ory and Mitridate); Aix-en- and Europe, where he specialises in highly repertoire on disc, with performances Rusalka, Violetta, Provence (Constanze); Cologne Opera and the demanding works of Mozart and the bel canto including the original version of Lucia di Marguerite and Opéra Comique in Paris (L’occasione fa il ladro). composers. For more than a decade Bruce Lammermoor under Sir Charles Mackerras; Helen in Boito’s Recordings include Carolina (Il matrimonio Ford has been instrumental in the re- three solo operatic recitals (Romantic Heroes Mefistopheles), segreto) and Elvira in Ernani for Chandos. evaluation of many bel canto operas, both on and Serious Rossini on Opera Rara and Great Washington Opera (Tosca), Baltimore Opera Susan Patterson appears regularly in concert disc and in live performances. Many venues Operatic Arias for Chandos/Peter Moores (Mimì and Aida), Opera Company of in repertoire including works by Handel, have revived unjustly neglected operas Foundation); and Opera Rara’s releases of rare Philadelphia (Violetta, Donna Anna, and the Beethoven, Mendelssohn, Rossini, Poulenc,

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Szymanowski and Mahler. She also sang the Marzelline (Fidelio), Norina (Don Pasquale) Glyndebourne Madrid; the Composer (Ariadne auf Naxos) for Verdi Requiem with the Washington Opera and Hero (Beatrice and Benedict) for Welsh Touring Opera she Scottish Opera and in Lisbon; Meg Page under the baton of Placido Domingo on the National Opera; Romilda (Xerxes) for English has appeared in such (Falstaff ) for the reopening of the Royal Opera 100th anniversary of the composer’s death. National Opera; and Zerlina and Nanetta at venues as the Royal House, Covent Garden; Octavian (Der the Royal Opera House, Covent Garden. Opera House, Rosenkavalier) in Naples, Bilbao and at the Rebecca Evans was Her concert experience includes appearances Covent Garden, the Teatro Real in Madrid; and Marguerite in born in South Wales at the BBC Proms and Edinburgh Metropolitan Opera Vienna. and studied at the International Festival. She has performed the in New York, the Diana Montague’s many recordings include Guildhall School of Bach Magnificat with the San Francisco Théâtre de la Monteverdi’s Orfeo, I Capuleti e i Montecchi, Music and Drama. Symphony Orchestra conducted by Michael Monnaie in Brussels, Norma, Lucia di Lammermoor, Iphigénie en She has already Tilson Thomas, Brahms’ Requiem with the the Opéra national Tauride, for Opera Rara Rosmonda d’Inghilterra, established a major Boston Symphony Orchestra conducted by de Paris-Bastille, Zoraida di Granata and Il crociato in Egitto, and, operatic career in Jeffrey Tate, and Schumann’s Faust Szenen and Teatro Colon in Buenos Aires and the for Chandos’ Opera in English series, Cavalleria America where she has Brahms’ Requiem at the Ravinia Festival. She Bayreuth and Salzburg Festivals. rusticana, Octavian in Der Rosenkavalier sung Susanna (Le has also appeared in Australia at the Melbourne Her repertory includes the major roles for (highlights), Faust, and two discs of Great nozze di Figaro) for the International Festival and on a concert tour mezzo-soprano in operas by Mozart, Gluck, Operatic Arias (CHAN 3010 and 3093). Santa Fe Opera; Adele with the Australian Chamber Orchestra. Strauss, Rossini, Bellini and Berlioz, and her (Die Fledermaus) for the Chicago Lyric Opera; Recitals include the Wigmore Hall, London; frequent concert engagements include Nicolai Gedda is internationally acknowledged Zerlina (Don Giovanni), Anne Trulove (The and the Barcelona, Ravinia, Buxton and Belfast performances under Georg Solti, James Levine, as one of the greatest Rake’s Progress) and Adina (L’elisir d’amore) for Festivals. Recordings include The Marriage of Riccardo Muti, John Eliot Gardiner, Seiji artists of our time and

San Francisco Opera; and both Susanna and Figaro, The Pirates of Penzance, HMS Pinafore Ozawa, Jeffrey Tate and Andrew Davis. has been acclaimed for Barda Clive Zerlina for the Metropolitan Opera, New and Trial by Jury, all under Sir Charles Engagements have included Iphigénie en his command of a York. In Europe, her roles have included Mackerras; for Chandos Nannetta (Falstaff ), Tauride in Buenos Aires, Madrid and with repertoire which Sophie (Der Rosenkavalier), Zdenka (Arabella), Hugh The Drover, a solo recording of Italian Welsh National Opera; Le Comte Ory in encompasses almost Servilia (La clemenza di Tito), Ilia (Idomeneo) songs, Delius’ Requiem, and Finzi’s Dies natalis. Lausanne, Rome and Glyndebourne; every style and period and, most recently, Nanetta (Falstaff ) for the Andromaca in Rossini’s Ermione at in the field of opera, Bayerische Staatsoper; Ilia for Opera de Diana Montague was born in Winchester and Glyndebourne; Proserpina in Monteverdi’s oratorio, operetta, song Lausanne; the title role in The Cunning Little studied at the Royal Northern College of Orfeo in Amsterdam; Il ritorno d’Ulisse in or orchestral works. Vixen for Scottish Opera; Susanna, Ilia, Music. Since her debut as Zerlina with patria in Amsterdam and Sydney; Sesto in Born in Stockholm,

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the son of a Russian bass and a Swedish Born in South Wales Monostatos (Die Zauberflöte) at Santa Fe; role in Le nozze di Figaro for Opera North; mother, he made his professional début at the Ryland Davies Basilio (Le nozze di Figaro) for Nice Opera, Cadmus (Semele), the four Villains (The Tales Royal Opera Stockholm in 1952 in Le studied at the Royal New Israeli Opera, Lyric Opera of Chicago, of Hoffmann), Collatinus (The Rape of Postillon de Longjumeau. In the audience was Manchester College English National Opera and at Glyndebourne; Lucretia), Hunding (The Valkyrie), and Narbal Herbert von Karajan, who immediately of Music where he Dr. Caius (Falstaff ) in Israel; Horace Adams (The Trojans) for English National Opera. He engaged him to sing in his recording of Bach’s was made a Fellow of (Peter Grimes) in Florence, at English National has also appeared with Glyndebourne Festival B minor Mass. Thus the year 2002 marked the College in 1971. Opera and the Saito Kinen Festival, Japan; and Touring Operas. Abroad Clive Bayley has fifty years of recording for Nicolai Gedda. In His many roles with Albazar (The Turk in Italy), Gaudenzio in sung with Netherlands Opera, Seattle Opera, 1953 he made his debut at La Scala, Milan Glyndebourne Leoncavallo’s La Bohème, and Dr Caius in Lisbon, Lausanne, Toulouse, Munich and in followed in 1954 by his debut at the Paris Festival Opera (Falstaff ) and War and Peace for English concert with Les Arts Florissants and William Opera and in 1957 with his Metropolitan include Belmonte National Opera. Christie. Opera debut (in the title role of Gounod’s (Die Entführung aus Clive Bayley also has a very busy concert Faust). Since his debut with The Royal Opera dem Serail ), Ferrando (Così fan tutte), Tamino Clive Bayley sings career which includes highlights such as in 1965 (as the Duke of Mantua in Verdi’s (Die Zauberflöte), Lenksy (Eugene Onegin) and regularly with the Leonard Bernstein’s Candide with the London Rigoletto) he returned to sing Benvenuto Flamand (Capriccio). He made his operatic major opera Symphony Orchestra, Walton’s The Bear with Cellini, Alfredo, Gustavus III in Un ballo in debut in with Welsh National Opera in 1964 companies in a the Northern Sinfonia, and Don Fernando in maschera, Nemorino and Lensky. He created as Count Almaviva (Il barbiere di Siviglia) and repertoire ranging concert performances of Fidelio with the City leading roles in Barber’s Vanessa and Menotti’s his Royal Opera House debut in 1969 where from Monteverdi to of Birmingham Symphony Orchestra under The Last Savage at the Metropolitan Opera. his many roles have included Don Ottavio Verdi, Puccini, Berg, Walter Weller. His recordings in the Opera in His operatic triumphs have ranged from the (Don Giovanni), Ernesto (Don Pasquale), Britten and English series include the Bonze in Madam works of Haydn and Mozart to Stravinsky, Fenton (Falstaff ) and Lysander (A Midsummer Birtwistle. He made Butterfly, Ferrando in Il Trovatore, the Orff, Barber and Menotti, while in recital he is Night’s Dream). his debut with the Commendatore in Don Giovanni, Pistol in regarded as an outstanding interpreter of Other engagements have included Turandot Royal Opera, Covent Falstaff, and Timur in Turandot. lieder. He also has the distinction of being the (Geneva Opera); La finta giardiniera (Welsh Garden, in the world premiere of Harrison most recorded tenor in the world with 200 National Opera); Arbace (Idomeneo) for the Birtwistle’s Gawain and subsequently appeared Opera North is the national opera company recordings to his credit. These include Metropolitan Opera and at Garsington; Le as Colline (La bohème), Hans Foltz (Die for the North of England and is committed to complete opera performances of Guillaume Duc (Chérubin) for The Royal Opera and in Meistersinger) and Castro (La fanciulla del producing high quality work that informs, Tell, La Bohème, Faust, Werther, Manon, Così Monte Carlo; Aumonier (The Dialogues of the West). Other roles include Sparafucile excites, challenges and entertains. Over fan tutte and Benvenuto Cellini. Carmelites) for Netherlands Opera; (Rigoletto), Raleigh (Gloriana), and the title twenty-four years Opera North has established

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itself as one of England’s leading arts 1987 and since 1992 has been the founding recordings under the sponsorship of the Peter Alastair Miles, Yvonne Kenny, John organisations and one of the most imaginative Music Director of Almeida Opera. Moores Foundation. Among these are Tomlinson, Della Jones, Alan Opie and opera companies in Europe. It is a vibrant He works extensively in both opera and numerous discs for the Opera Rara label Andrew Shore – as well as The Thieving organisation which actively challenges concert, nationally and internationally. He has which have won several awards, including the Magpie, Carmen, Don Giovanni, Don Pasquale, perceptions of opera as an art form. Breathing conducted several productions at English Belgian Prix Cecilia for Donizetti’s Rosmonda The Elixir of Love, Lucia of Lammermoor, new life into the classics, the company is also a National Opera and Opera North and appears d’Inghilterra. For Chandos he has conducted a Ernani, Il trovatore, Aida, Faust, Cavalleria strong advocate of lesser-known works and regularly with the Philharmonia and London series of recitals of operatic arias – with Bruce rusticana, Pagliacci, La bohème, Turandot, the champion of music theatre. The critically Philharmonic Orchestras. In 1996 he made his Ford, Diana Montague, Dennis O’Neill, award-winning Tosca and highlights from Der acclaimed Chorus and versatile Orchestra also debut at the Glyndebourne Festival perform independently, constantly revitalising conducting Così fan tutte, following it in 1998 their approaches to music-making. Recordings with the world premiere of Jonathan Dove’s for Chandos include Walton’s Troilus and Flight. Barda Clive Cressida and, for the Opera in English series, He is a frequent visitor to Spain where he has highlights from Mussorgsky’s Boris Godunov. given concerts with most of the major Spanish orchestras. He conducted the Spanish premiere David Parry studied of Peter Grimes in Madrid and in 1996 the first with Sergiu Spanish production of The Rake’s Progress. He Celibidache and has appeared in Germany, Switzerland, and The began his career as Netherlands, at the Pesaro Festival in Italy, the Sir John Pritchard’s Hong Kong International Festival, in Japan assistant. He made with a tour of Carmen, and in Mexico with the his debut with UNAM Symphony Orchestra. Recent new English Music productions he has conducted include Fidelio at Theatre, then the New Zealand Festival, Lucia di became a staff Lammermoor at New Israeli Opera and Don conductor at Giovanni at Staatsoper Hannover. Städtische Bühnen, His work in the recording studio includes On session: Sir Peter Moores, Dortmund and at Opera North. He was the BBC Television production of Marschner’s Brian Couzens, Ralph Couzens Music Director of Opera 80 from 1983 to Der Vampyr and twenty-eight complete opera and Michael Common

22 23 CHAN 3103 BOOK.qxd 20/9/06 10:22 am Page 24 Clive Barda Clive Clive Barda Clive

On session: Bruce Ford On session: Susan Patterson

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SIR PETER MOORES, CBE, DL youth, social and environmental projects. To date, because of his initiatives and life-long Sir Peter Moores was born in Lancashire and educated at Eton College commitment to these causes, he has disbursed more than £85 million of his own money through and Christ Church, Oxford, where he studied Italian and German. He the Foundation and the Peter Moores Charitable Trust – ‘to get things done and to open doors’.

Bill Cooper/PMF Bill had a ‘gap year’ at Glyndebourne working as a behind-the-scenes Projects to help the young have ranged from a scheme to encourage young Afro-Caribbeans to administrator before going to Oxford, then studied for three years at the stay on at school to the endowment of a Faculty Directorship and Chair of Management Studies at Vienna Academy of Music, where he produced the Austrian premiere of Oxford University (providing the lead donation in 1991 for the new School of Management Benjamin Britten's The Rape of Lucretia and was a production assistant Studies). In 1994 a permanent Transatlantic Slave Trade Gallery, initiated by Peter Moores, opened with the Vienna State Opera working as assistant producer of at the Merseyside Maritime Museum, with the aim of fostering discussion about the heritage and performances by Viennese artists at the San Carlo Opera House, Naples, true history of the slave trade. Substantial help was given to the Royal Liverpool Philharmonic at the Geneva Festival and at the Rome Opera. Development Trust, whilst through annual PMF Scholarships established in 1971 well over In 1957 he joined his father’s business, Littlewoods, becoming two hundred young singers have received practical support at the outset of their careers, enabling a Vice-Chairman in 1976, Chairman from 1977 to 1980 and remaining a significant number to become international opera stars. director until 1993. His public appointments include from 1981 to 1983 Governor of the BBC, In 1993 the Foundation acquired Compton Verney, an eighteenth-century mansion, and Trustee of the Tate Gallery from 1978 to 1985 and from 1988 to 1992 a Director of Scottish established the Compton Verney House Trust, an independent charity which it funded in order to Opera. He received the Gold Medal of the Italian Republic in 1974, an Honorary MA from transform the mansion into an art gallery designed especially to encourage newcomers to the visual Christ Church, Oxford in 1975, and was made an Honorary Member of the Royal Northern arts. Alongside major international touring exhibitions, it will house permanent collections of College of Music in 1985. In 1992 he was appointed Deputy Lieutenant (DL) of Lancashire by North European art, Neapolitan paintings and one of the finest collections of archaic oriental HM Queen Elizabeth II. He was appointed a Commander of the British Empire (CBE) in 1991 bronzes in the UK, as well as a British Portrait Collection and a British Folk Art Collection. The and received a Knighthood in the New Year’s Honours List for 2003 in recognition of his gallery is scheduled to open in Spring 2004. charitable services to the arts. Opera has given the Foundation its most public ‘face’. Since Peter Moores initiated the live recording of the ‘Goodall Ring’ at the London Coliseum in the 1970s, the Foundation has enabled PETER MOORES FOUNDATION some eighty recordings to be produced: Chandos Records’ Opera in English series – ‘Opera that Peter Moores’ philanthropic work began with his passion for opera: in his twenties he identified speaks your language’ – is now the largest recorded collection of operas sung in English whilst and helped a number of young artists in the crucial, early stages of their careers, several of whom – Opera Rara’s recordings of rare bel canto operas have opened up an immensely rich repertory Dame Joan Sutherland, Sir Colin Davis and the late Sir Geraint Evans amongst them – became previously only accessible to scholars. In live performance, the Foundation has encouraged the world-famous. He set up his eponymous Foundation in 1964 when he was thirty-two, in order to creation of new work and schemes to attract new audiences, financing the publication of scores develop his charitable aims, not only in music and the visual arts, but also in education, health, and enabling rarely heard works to be staged by British opera companies and festivals.

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Mozart die Titelrolle schrieb, sich dafür Premiere, bei der auch Leopold Mozart Mozart: Idomeneo verwendete, daß er den Auftrag erhielt. Die anwesend war, fand ein positives Echo. Das meisten Sänger und Musiker waren ihm aus eindrucksvolle Bühnenbild stammte von Idomeneus, Gestalt der griechischen Legende, Selbstmord verhindern können. Das in seiner Zeit in Mannheim bekannt, wo er Lorenzo Quaglio, seinerzeit ein bekannter Sohn des Deucalion, Enkel von Minos und jüngerer Zeit von William Christie, dem kurz zuvor viereinhalb glückliche und Vertreter seines Faches. Mit 66 Jahren mag Pasiphaë, König von Kreta. Er warb um Helena bekannten Dirigenten barocker Opern, wieder erfolgreiche Monate am Hoftheater verbracht Raaff seinen Part, der mit zahlreichen und kämpfte im Trojanischen Krieg. Nach zum Leben erweckte Werk hat sich als hatte. In der pfälzischen Residenz blühten die Koloraturen gespickt war, als sehr Homers Odyssee kehrte er unversehrt nach Hause meisterhafte tragédie lyrique erwiesen, die Künste. Unter dem wohlwollenden Einfluß anspruchsvoll empfunden haben, obwohl zurück, begleitet von all seinen verbliebenen Mozart wahrscheinlich zu seinem eigenen des aufgeklärten Theaterdirektors Carl Mozart darauf achtete, ihn nicht allzu häufig Landsleuten, die den Krieg überlebt hatten. Werk inspirierte. Theodor wurde der Musik in Mannheim eine in große Höhen zu führen. Die Einer späteren Tradition zufolge geriet er in Sicherlich diente das Werk als Hauptquelle Vorrangstellung eingeräumt. Von Theodor Schwägerinnen Wendling, die mit Mozart in einen heftigen Sturm und schwor, Poseidon für das Libretto, das Mozart seiner am hieß es: “Es fiele schwer, einen anderen Mannheim zusammengearbeitet hatten, [Neptun] das erste Lebewesen zu opfern, das 29. Januar 1781 in München uraufgeführten großen Mann zu finden, der die Musik so eng übernahmen die beiden weiblichen Rollen – ihm bei seiner Heimkehr begegnen würde. Wie Oper zugrundelegte. Mozarts Librettist, der mit seinem Leben verwoben hat wie dieser.” Dorothea sang die Ilia und Elisabeth die sich herausstellte, war dies sein Sohn, den er Salzburger Pastor Giovanni Battista Varesco, In Mannheim gewann Mozart zahlreiche Elektra. Idamante war für einen Kastraten seinem Schwur gemäß erschlug; daraufhin brach vereinfachte Danchets Handlung und ersetzte musikalische Freunde, die in Idomeneo geschrieben (für Wien schrieb Mozart den Part eine Seuche aus und Idomeneus wurde das tragische Ende durch eine glückliche mitwirken sollten. Er begann mit der Arbeit für Tenor um); die Rolle wurde von dem noch vertrieben …. Wendung. Die ursprünglich fünf Akte der an der Oper noch bevor er am 5. November recht unerfahrenen Vincenzo dal Prato Soweit meine 35 Jahre alte Ausgabe der Vorlage wurden gemäß der Opernreform Salzburg verließ. Seine Arbeit an der gesungen, den Mozart unter seine Fittiche Encyclopedia Brittanica, und auf dieser Glucks auf drei reduziert. Überhaupt ist der Partitur ist in Briefen nach Hause an nehmen mußte. Domenico de Panzacchi, der Geschichte basierte eine Oper von André Einfluß von Glucks Alceste in den seinen Vater dokumentiert, der gelegentlich den Tenorpart des Vertrauten Arbace sang, Campra nach einem Libretto von Antoine erhabeneren, weihevollen Passagen von als Kontaktperson zwischen dem bestand darauf, zwei Arien zu erhalten. Keine Danchet, die 1712 an der Pariser Opéra Idomeneo zu spüren, während die Arien eher Komponisten und seinem Librettisten der beiden ist besonders herausragend und sie erstaufgeführt wurde. Am Schluß von dem lyrischen italienischen Stil verpflichtet fungierte. werden oft ausgelassen (so auch in der Campras Oper Idomenée verliert der Titelheld, waren. Mozart berichtete nach Hause über die vorliegenden Aufnahme). Für eine private der von einem Baß gesungen wird, den Den Kompositionsauftrag erhielt Mozart im Reaktion der Sänger – überwiegend positiv – Aufführung in Wien im Jahre 1786 nahm Verstand und erschlägt seinen Sohn Sommer 1780 vom Intendanten der und über die wohlwollende Aufnahme der Mozart Änderungen vor, die dem Werk Idamantes, woraufhin seine Gefolgsleute durch Münchner Oper Graf Seeau. Man nimmt an, Musik seitens des bayerischen Kurfürsten, der zuträglich waren; diese bestanden vor allem in ihr Einschreiten gerade noch seinen daß der alternde Tenor Anton Raaff, für den gelegentlich die Proben besuchte. Die Kürzungen.

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In dieser frühen Phase seiner Laufbahn war woraus sich Änderungen in den Ensembles noch ist sein Platz im gängigen Repertoire “arcicontentissima” (höchlichst zufrieden) der Fünfundzwanzigjährige noch dabei, sein ergaben. Er erhielt außerdem eine ausgedehnte nicht völlig gesichert und es wird vor allem auf zeigte. Handwerk zu erlernen. Ihm war besonders neue Arie mit obligater Violine (die hier Festivals aufgeführt. Das mag etwas mit dem Elisabeth Wendling war in der Rolle der daran gelegen, daß die Oper auch in natürlich nicht enthalten ist) sowie ein statischen Charakter der Handlung zu tun Elektra gleichermaßen von ihrer Musik dramatischer Hinsicht erfolgreich war, daher kürzeres, musikalisch geändertes Duett mit Ilia haben, aber wohl auch damit, daß die Gattung angetan, und dies mit gutem Grund angesichts unternahm er während der Bearbeitung des im dritten Akt. der opera seria, unter die Idomeneo fällt, nicht der wechselnden Stimmungen, in denen sie Werks für die Bühne eine Reihe von Als die Oper Anfang des zwanzigsten sonderlich beliebt ist. In gewissem Sinne sollte ihren widerstreitenden Gefühlen Ausdruck Streichungen. Die Wiederherstellung dieser Jahrhunderts im deutschen Sprachraum das Stück besonderen Anlässen vorbehalten verleiht. Die Sänger in den Hauptrollen gaben Passagen in jüngster Zeit hat angesichts des wiederbelebt wurde, geschah dies meist in bleiben, schon wegen der hier mit tief schon eher Anlaß zur Besorgnis. Wie bereits großen Werts, den man heute auf entstellenden Bearbeitungen durch bewegender Musik von herausragender erwähnt, war Raaffs Alter ein Problem, Authentizität legt, zu ausführlichen Komponisten wie Richard Strauss und Schönheit zum Ausdruck gebrachten großen außerdem vertrat er sehr konservative Diskussionen sowie einigen Kontroversen Bernhard Paumgartner. Zu ihren – allseits Emotionen, aber auch wegen der effektvollen Ansichten. Den jungen Dal Prato (Idamante) geführt. In München behielt Mozart gefeierten – wirklichen Ehren kam sie erst Orchestrierung. Der eminente Mozart- verglich Mozart mit einem Chorknaben, der eigentümlicherweise Arbaces Arien und das wieder anläßlich der berühmten Inszenierung Forscher Daniel Heartz schrieb in einem ständig Gefahr lief, sich stimmlich und abschließende Ballett bei, während er Elektras von 1951 in Glyndebourne, die der vielbeachteten Essay über das Werk in schauspielerisch zu verirren. überaus originelle Schlußarie, in der sie außer Inspiration des Dirigenten Fritz Busch und des The Musical Times: “Als Mozart sich an die Doch Mozarts Konzept geht weit über die sich gerät, wegließ; sie wurde hier Intendanten Carl Ebert zu verdanken ist. Bei Neuschöpfung des Dramas mittels der ihm Freuden und Eigenheiten seiner ersten dankenswerterweise wieder aufgenommen. dieser Aufführung wurde die Rolle des eigenen Kunst machte, entlockte dieses Besetzung hinaus. Die Komposition ist in Die Komposition, das heute allgemein als Idamante von einem Tenor übernommen und ihm einige der persönlichsten und jeder Hinsicht neuartig, ausladend in Struktur Mozarts erstes ausgewachsenes Meisterwerk für die beiden Fassungen miteinander vermischt. leidenschaftlichsten Kompositionen, die und Wirkung, und sie erreicht psychologische die Oper gilt, wurde viele Jahre lang kaum In jüngster Zeit (2003) führte Simon Rattle er je schrieb.” Tiefen, die die meisten ihrer Vorgänger kaum beachtet. Mozart war seinerzeit die Oper erneut in Glyndebourne auf, diesmal Die zentrale Arie der Ilia, “Se il padre jemals berührten – ausgenommen vielleicht verständlicherweise auf weitere Aufführungen taktgetreu in der von Mozart ursprünglich für perdei” (“My father was taken”, CD1, die besten Werke Monteverdis und Glucks. an anderen Orten erpicht, doch erst fünf Jahre München komponierten Fassung – eine Band 18 ) im Zweiten Akt, ist ein langer Für die Emotionen einer jeden Figur findet nach der Premiere wurde die Oper in Wien fragwürdige Entscheidung, da das Werk in sinnlicher Gefühlsausbruch für lyrischen Mozart im richtigen Moment der Handlung erneut aufgegriffen, allerding lediglich für eine dieser Form fast so lange dauert wie eine Sopran mit wunderschöner Melodieführung die angemessene Musik. So wird die konzertante Laienaufführung im Auersperg- Wagner-Oper. und Emotionalität, in dem die Streicher Außenseiterin Elektra als ebensolche Palais. Wie schon erwähnt, wurde die Rolle Auch anderswo hat das Werk mittlerweile herrliche Bläsersoli begleiten. Kein Wunder, dargestellt, niemals so recht in das des Idamante für Tenor umgeschrieben, Anerkennung gewonnen, doch auch heute daß Dorothea Wendling sich mit ihrer Musik musikalische oder dramatische Geflecht

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integriert. Ilia entwickelt sich im Verlauf der Verstörung und Verletzlichkeit, zugleich aber wodurch die Hörer ebenso betroffen Synopsis Oper von einem liebeskranken traurigen auch Edelmut vermittelt. zurückgelassen werden wie die Handelnden – Mädchen zu einer fast heroischen Frau, die Die außergewöhnliche Neuheit des Werks ein Meisterzug. Auch die Intervention des COMPACT DISC ONE bereit ist, für ihren geliebten Idamante ihr erstreckt sich auch auf die Ensembles. Niemals Hohepriesters und Neptuns – letzterer als deus Leben hinzugeben – die ausgedehnte Episode, zuvor in der Geschichte der Oper gab es ex machina – im dritten Akt ist überraschend 1 Ouvertüre in der dieser für das Opfer vorbereitet wird, derartig ausgedehnte Stücke, in denen die und originell, zumal Mozart hier die Posaunen und ihr rechtzeitiges Einschreiten sind in jeder unterschiedlichen Gefühle der am Geschehen zum ersten Mal in diesem Akt einsetzt. Auf Erster Akt guten Inszenierung herzergreifend. In Beteiligten so ausführlich und getreu diese Weise werden ständig neue Klänge und 2 – 3 Ilia, Tochter des in Troja unterlegenen ähnlicher Weise entwickelt Idamante sich in dargestellt wurden. Ich denke hier besonders Ideen zu Gehör gebracht. König Priamus, befindet sich unter den einer Reihe von geradlinigen Arien und an das Trio “Pria di partir” (“If I must leave”, Auch die Behandlung der Instrumente trojanischen Häftlingen, die auf Kreta Duetten vom Knaben zum Mann. Arbace, CD2, Band 4 ) im Zweiten und das entspricht Mozarts außerordentlicher gefangen gehalten werden. Sie ist zerrissen obwohl oder vielleicht gerade weil man ihm überragend eloquente Quartett “Andrò Erfindungsgabe. Der harmonische Wagemut zwischen ihrem Haß auf den kretischen Feind seine Arien weggenommen hat, ist ein ramingo e sol” (“Alone the earth I wander”, ist zur Vermittlung der extremen Dramatik und ihrer aufblühenden Liebe für Idamante, sympathischer Berater des Königs; ihm fällt in CD2, Band 13 ) im dritten Akt. In jedem unabdingbar, und die Tonartenverhältnisse den Sohn des abwesenden Idomeneo. Sie der Mitte des Werks ein Accompagnato- dieser Stücke entwickeln sich die scheinen der Entwicklung der Handlung fürchtet jedoch, daß er bereits Elektra liebt, Rezitativ voller tiefer Reflektion zu. Melodielinien der Protagonisten separat, angepaßt zu sein. Selbst die Struktur der die auf Kreta im Exil lebende Tochter Im Zentrum des Geschehens befindet sich zugleich schaffen sie aber eine Rezitative ist abwechslungsreicher und Agamemnons. 4 – 7 Idamante gibt Ilia und der Titelheld. Nach der Erleichterung, den zusammenhängende Einheit. Hier zeichnen eindrucksvoller als in früheren opera seria. den übrigen Gefangenen die Freiheit und Unwettern und Neptun unversehrt sich bereits die vergleichbaren Wunder der Da- Ein derart komplexes und zugleich gesteht ihr seine Liebe, doch sie versteckt ihre entkommen zu sein, begegnet er am Ufer Ponte-Opern ab. unmittelbar anrührendes Werk vermittelt dem Gefühle vor ihm. 8 Arbace trifft ein mit der seinem Sohn und stürzt in tiefe Seelenqualen. Dann gibt es noch die großartigen Chöre, aufmerksamen Hörer immer wieder neue Nachricht, daß Idomeneo in einem Sturm auf Fast bis zum Schluß ist er unfähig, sich zum in denen das verwirrte Volk seine wechselnden Eindrücke. In meiner langen Beschäftigung dem Meer umgekommen sei. 9 Elektra, die Opfer seines Sohnes zu entschließen, zu dem Emotionen zum Ausdruck bringt. Am mit dieser Oper hat sie immer wieder mein gehofft hatte, Idomeneo würde sie bei seiner er sich durch seinen unbesonnenen Schwur originellsten ist der am Ende des Zweiten Akts Ohr wie auch mein Herz berührt, besonders Rückkehr als Gemahlin für Idamante wählen, verpflichtet hat. Seine Musik zeigt stehende Chorsatz “Corriamo, corriamo” intensiv in den fast unerträglich direkten und ist verzweifelt, 10 – 11 besonders als sie ausdrucksstark die von ihm erlittenen Qualen. (“Disaster! Run faster to flee such a horror!” zugleich zärtlichen Emotionen des dritten Idamantes Liebe zu Ilia bemerkt. Einem Tenor wie Bruce Ford, der ebenso CD2, Band 7 ), in dem die Menge Idomeneos Akts. 12 – 13 Idomeneo hat den Sturm überlebt, geistreich wie stimmgewaltig ist, gelingt hier Bekenntnis mit Verzweiflung aufnimmt. Der indem er Neptun gelobte, das erste ihm bei die Darstellung eines Charakters, der tiefe Satz schließt nicht mit einer vollen Kadenz, © 2004 Alan Blyth seiner Landung begegnende Lebewesen zu

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opfern. 14 – 15 Idamante, der unter den 21 – 22 Elektra ist glücklich, Kreta zu 14 Arbace beklagt, daß die Götter Kreta Der amerikanische Tenor Bruce Ford ist Schiffbrüchigen nach seinem Vater sucht, verlassen, da sie hofft, Idamante werde ihre verlassen haben. 15 – 17 Der Hohepriester zweifellos einer der herausragenden Sänger begegnet ihm, doch sie erkennen einander Liebe annehmen, wenn er erst einmal von Ilia beschreibt die Zerstörung der Insel: Durch die unserer Zeit. Die außergewöhnliche Schönheit nicht. Idomeneo weiß nur, daß seinem getrennt ist. Straßen voller Toter und Sterbender rinne das und der Umfang seiner Stimme, sein lebhafter Schwur gemäß dieser Mann das versprochene Blut. Idomeneo gesteht schließlich ein, daß Textausdruck und souveräner Stil, sein hohes Opfer sein muß. Schließlich stellt sich ihre COMPACT DISC TWO sein eigener Sohn, Idamante, geopfert werden technisches und schauspielerisches Können wahre Identität heraus und Idomeneo stößt müsse. haben die Kritik zu größtem Lob veranlasst. seinen Sohn voller Verzweiflung von sich; 1 – 4 Bevor ihr Schiff die Segel hissen kann, 18 Während das Opfer vorbereitet wird, An den berühmten Opernhäusern Idamante bleibt verwirrt und unglücklich bricht ein heftiger Sturm aus. 5 Da sie hört man Freudenklänge. Idamante hat das Nordamerikas und Europas gastiert er zurück. glauben, Neptun bestrafe sie noch immer, Ungeheuer geschlagen. 19 Idomeneo, der regelmäßig in den anspruchsvollen Rollen 16 Das kretische Volk feiert die sichere verlangen die Kreter zu wissen, wer ihn begreift, daß dies Neptun nur noch mehr Mozarts und der Belcanto-Komponisten. Seit Rückkehr der Flotte. erzürnt habe. 6 – 7 Idomeneo gesteht seine erzürnen wird, weiß, daß er den Tod seines über einem Jahrzehnt hat Bruce Ford Schuld ein und fordert Neptun heraus, indem Sohnes nicht länger verhindern kann. maßgeblich zu einer Neubewertung Zweiter Akt er bestimmt, daß er selbst zu sterben habe. 20 Idamante akzeptiert, daß er sterben zahlreicher Belcanto-Opern beigetragen, 17 Idomeneo erzählt Arbace von seinem Aus dem Sturm tritt eine monströse Kreatur muß, um das Versprechen seines Vaters sowohl auf Schallplatte als auch in Gelöbnis an Neptun. Arbace rät dem König, hervor. einzulösen. Idomeneo will ihn gerade opfern, Livedarbietungen. Vielerorts sind zu Unrecht Idamante und Elektra in ihr Heimatland als Ilia verlangt, an seiner Stelle getötet zu vernachlässigte Opern speziell für ihn Argos zu schicken. Wenn Idamante erst einmal Dritter Akt werden. 21 In diesem Moment erklingt die inszeniert worden, so etwa an der Royal Opera aus dem Weg sei, finde sich schon ein anderes 8 – 10 Idamante hat beschlossen, daß der Stimme Neptuns, der erklärt, die Liebe habe Covent Garden (Rossinis Otello) und bei den Mittel, den verärgerten Neptun zu einzige Weg, die Zerstörung durch das gesiegt; Idomeneo müsse seinen Thron Festspielen von Glyndebourne (Ermione) und besänftigen. Ungeheuer zu beenden, dessen Vernichtung abtreten und Idamante als den neuen Pesaro (Zelmira, Rossinis Otello). Er ist auch 18 Ilia naht, um Idomeneo für ihre Freiheit ist. In der Angst, daß er nicht überleben Herrscher einsetzen, mit Ilia an seiner an der Scala, den Opernhäusern von Neapel, zu danken, und bittet ihn, die Stelle ihres werde, gesteht Ilia ihm ihre Liebe. Seite. 22 – 23 Elektra tobt angesichts ihrer Florenz und Bologna, beim Maggio Musicale toten Vaters einzunehmen. 19 – 20 Der König 11 Während das Paar seine Liebe feiert, zerplatzten Träume. 24 – 25 Idomeneo Fiorentino und bei den Salzburger Festspielen begreift, daß Idamante und Ilia einander 12 – 13 taucht Idomeneo mit Elektra auf und empfiehlt Idamante und Ilia seinem aufgetreten. Als Almaviva in Il barbiere di lieben. Er entscheidet, daß sein Sohn wegen befiehlt seinem Sohn, Kreta sofort zu Volk. Siviglia (die von ihm am häufigsten seiner Liebe zu Ilia und der Befreiung der verlassen; den Grund für dieses scheinbar verkörperte Rolle) debütierte er an der Royal trojanischen Gefangenen die Schuld an lieblose Verhalten nennt er ihm jedoch © 2004 Opera, Metropolitan Opera, Los Angeles Neptuns Zorn zu tragen habe. nicht. Übersetzung: Stephanie Wollny Opera und Dallas Opera.

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Bruce Ford hat Konzerte an der Scala, bei den Susan Patterson hat sich als eine der neuen Faust (San Francisco Opera); Rosalinde d’amore) an der San Francisco Opera sowie Edinburgher Festspielen, in der Carnegie Hall führenden lirico-spinto-Soprane einen Namen (Die Fledermaus), Musetta und Gilda. In Susanna und Zerlina an der Metropolitan und dem Concertgebouw Amsterdam gegeben gemacht mit überaus erfolgreichen Auftritten Europa hat sie an La Scala in Mailand Opera in New York. In Europa umfaßten ihre und ist als Recitalkünstler vielgefragt. Dirigenten an der English National Opera (Dvorˇáks gesungen (Cherubinis Lodoïska unter Riccardo Rollen Sophie (Der Rosenkavalier), Zdenka wie Claudio Abbado, Riccardo Muti, Sir Charles Rusalka, Violetta, Marguerita und Helen in Muti); an der Netherlands Opera (Le Comte (Arabella), Servilia (La clemenza di Tito), Ilia Mackerras, Richard Bonynge, Sir Roger Boitos Mefistopheles), der Washington Opera Ory und Mitridate); in Aix-en-Provence (Idomeneo) und in jüngster Zeit Nanetta Norrington, Sir Colin Davis und David Parry (Tosca), der Baltimore Opera (Mimì und Aida) (Constanze); an der Kölner Oper und der (Falstaff ) an der Bayerischen Staatsoper; Ilia haben mit ihm zusammengearbeitet. sowie der Opera Company of Philadelphia Opéra Comique in Paris (L’occasione fa il an der Opera de Lausanne; die Titelrolle in Bruce Ford hat einen großen Teil seines (Violetta, Donna Anna und die vier ladro). Zu ihren CD-Einspielungen zählt die The Cunning Little Vixen an der Scottish Repertoires auf Schallplatte festgehalten, so Heldinnen in Hoffmanns Erzählungen). Ihr Rolle der Carolina (Il matrimonio segreto), und Opera; Susanna, Ilia, Marzelline (Fidelio), etwa Lucia di Lammermoor in der Debüt an der Metropolitan Opera feierte sie Elvira (Ernani) für Chandos. Norina (Don Pasquale) und Hero (Beatrice and Originalversion unter Sir Charles Mackerras, 1998 als die Italienische Sängerin in Strauss’ Susan Patterson tritt zudem regelmäßig im Benedict) an der Welsh National Opera; drei Solo-Opernrecitals (“Romantische Helden” Capriccio. Konzertsaal auf; zu ihrem Repertoire gehören Romilda (Xerxes) an der English National und “Rossini serio” auf Opera Rara und La traviata hat in Susan Pattersons Werke von Händel, Beethoven, Mendelssohn, Opera; sowie Zerlina und Nanetta am Royal “Große Opernarien” für die Chandos/Peter Laufbahn eine besonders herausragende Rolle Rossini, Poulenc, Szymanowski und Mahler. Opera House in Covent Garden. Moores Foundation) sowie auf Opera Rara gespielt, und sie hat das Werk an vielen Anläßlich des hundertsten Todestages des Ihre Konzerttätigkeit umfaßt Auftritte bei selten aufgeführte Opern von Mayr, Donizetti, Häusern aufgeführt, darunter die San Komponisten sang sie zudem Verdis Requiem den BBC Proms und dem Edinburgh Pacini und Rossini. Diese Aufnahmen werden Francisco Opera, die New York City Opera, in einer Aufführung der Washington Opera International Festival. Sie sang Bachs immer wieder von der Kritik gewürdigt. Seine die Lyric Opera of Chicago, die Palm Beach unter dem Dirigat von Placido Domingo. Magnificat mit dem San Francisco Symphony Triumphe als Mozarts Mitridate (Royal Opera) Opera, das Michigan Opera Theatre, die Orchestra unter der Leitung von Michael und Oreste in Ermione (Glyndebourne) sind Baltimore Opera sowie in Vancouver und Rebecca Evans wurde in South Wales geboren Tilson Thomas, Brahms’ Requiem mit dem auf Video/DVD zu sehen. Selbst nach zwei Montreal. Als Violetta feierte sie ihr und studierte an der Guildhall School of Boston Symphony Orchestra unter Jeffrey Jahrzehnten auf der Bühne erweitert er ständig europäisches Debüt mit der Welsh National Music and Drama. In Amerika hat sie bereits Tate und Schumanns Faust-Szenen sowie sein Repertoire, so etwa kürzlich durch die Opera unter Sir Charles Mackerras. Weitere eine große Opernkarriere begründet und dort Brahms’ Requiem auf dem Ravinia Festival. Titelrollen in den Mozart-Opern La clemenza Auftritte umfassen Manon Lescaut (Spoleto folgende Rollen gesungen: Susanna (Le nozze Ferner ist sie in Australien auf dem di Tito und Idomeneo. Festival Opera USA); Falstaff (Atlanta Opera); di Figaro) an der Santa Fe Opera, Adele Melbourne International Festival aufgetreten In der Chandos-serie “Opera in English” Ernani (Netherlands Reisopera); Mozarts (Die Fledermaus) an der Chicago Lyric Opera, und hat an einer Konzerttournee mit hat er zwei Einspielungen Große Opernarien Fiordiligi und Constanze, Donna Anna, Zerlina (Don Giovanni), Anne Trulove dem Australian Chamber Orchestra und eine von Operettenarien aufgenommen. Donna Elvira, Anne Trulove; Marguerite in (The Rake’s Progress) und Adina (L’elisir teilgenommen.

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Recitals gab sie in der Londoner Wigmore Andrew Davis. Zu ihren bisherigen Repertoires gefeiert, das nahezu jeden Stil und dadurch aus, mit 200 Einspielungen der Hall sowie auf den Festivals von Barcelona, Engagements zählen Iphigénie en Tauride in jede Epoche in Oper, Oratorium, Operette, meistaufgenommene Tenor zu sein. Hierzu Ravinia, Buxton und Belfast. Ihre CD- Buenos Aires und Madrid sowie mit der Welsh Lied und Orchesterwerk umfaßt. zählen vollständige Opernaufführungen von Einspielungen umfassen The Marriage of National Opera; Le Comte Ory in Luzern, Rom Der in Stockholm gebürtige Sohn eines Wilhelm Tell, La Bohème, Faust, Werther, Figaro, The Pirates of Penzance, HMS Pinafore und Glyndebourne; Andromaca in Rossinis russischen Bassisten und einer schwedischen Manon, Così fan tutte und Benvenuto Cellini. und Trial by Jury, sämtlich unter der Leitung Ermione in Glyndebourne; Proserpina in Mutter feierte sein Debut 1952 an der von Sir Charles Mackerras; für Chandos Monteverdis Orfeo in Amsterdam; Il ritorno Königlichen Oper Stockholm in Le Postillon Ryland Davies wurde in South Wales geboren Nannetta (Falstaff ), Hugh The Drover, eine d’Ulisse in patria in Amsterdam und Sydney; de Longjumeau. Im Publikum befand sich und studierte am Royal Manchester College of Soloeinspielung italienischer Lieder, Delius’ Sesto in Madrid; der Komponist (Ariadne auf damals Herbert von Karajan, der ihn Music, wo man ihn 1971 zum Fellow of the Requiem und Finzis Dies natalis. Naxos) für die Scottish Opera sowie in umgehend für seine Aufnahme von Bachs H- College machte. Seine zahlreichen Rollen an Lissabon; Meg Page (Falstaff ) anläßlich der Moll-Messe engagierte. Somit konnte Nicolai der Glyndebourne Festival Opera umfassen Diana Montague wurde in Winchester Wiedereröffnung des Royal Opera House in Gedda 2002 auf fünfzig Jahre unter anderem Belmonte (Die Entführung aus geboren und studierte am Royal Northern Covent Garden; Octavian (Der Rosenkavalier) Aufnahmetätigkeit zurückblicken. 1953 hatte dem Serail ), Ferrando (Così fan tutte), Tamino College of Music. Seit ihrem Debüt als Zerlina in Neapel und Bilbao sowie am Teatro Real in er sein Debut an der Mailänder Scala, gefolgt (Die Zauberflöte), Lensky (Eugene Onegin) und mit der Glyndebourne Touring Opera ist sie in Madrid und schließlich Marguerite in Wien. 1954 von ersten Auftritten an der Pariser Oper Flamand (Capriccio). Sein Operndebüt feierte zahlreichen Opernhäusern aufgetreten, Diana Montagues zahlreiche CD- und 1957 an der Metropolitan Opera (in der er 1964 an der Welsh National Opera als Graf darunter das Royal Opera House in Covent Einspielungen umfassen Monteverdis Orfeo, Titelrolle von Gounods Faust). Seit seinem Almaviva (Il barbiere di Siviglia), und sein Garden, die Metropolitan Opera in New York, I Capuleti e i Montecchi, Norma, Lucia di Debut an der Royal Opera 1965 (als Herzog Debüt am Royal Opera House im Jahr 1969; das Théâtre de la Monnaie in Brüssel, die Lammermoor, Iphigénie en Tauride, für Opera von Mantua in Verdis Rigoletto) hat er dort hier umfaßten seine zahlreichen Rollen Don Opéra national de Paris-Bastille, das Teatro Rara Rosmonda d’Inghilterra, Zoraida di Benvenuto Cellini, Alfredo, Gustavus III in Ottavio (Don Giovanni), Ernesto (Don Colon in Buenos Aires sowie die Festspiele in Granata und Il crociato in Egitto, und für die Un ballo in maschera, Nemorino und Lensky Pasquale), Fenton (Falstaff ) und Lysander Bayreuth und Salzburg. Chandos-Serie “Opera in English” Cavalleria gesungen. An der Metropolitan Opera schuf er (A Midsummer Night’s Dream). Zu ihrem Repertoire gehören die großen rusticana, Octavian in Der Rosenkavalier führende Rollen in Barbers Vanessa und Zu seinen weiteren Engagements zählen Rollen für Mezzosopran in den Opern von (Ausschnitte), Faust sowie zwei CDs mit “Great Menottis The Last Savage. Turandot (Genfer Oper); La finta giardiniera Mozart, Gluck, Strauss, Rossini, Bellini und Operatic Arias” (CHAN 3010 und 3093). Seine Operntriumphe erstrecken sich von (Welsh National Opera); Arbace (Idomeneo) an Berlioz, und ihre regelmäßigen Konzertauftritte den Werken Haydns und Mozarts bis hin zu der Metropolitan Opera und in Garsington; umfassen Aufführungen unter der Leitung von Nicolai Gedda ist international als einer der Stravinsky, Orff, Barber und Menotti, und in Le Duc (Chérubin) an der Royal Opera und in Georg Solti, James Levine, Riccardo Muti, John größten Künstler unserer Zeit anerkannt und Recitals wird er als herausragender Lied- Monte Carlo; Aumonier (The Dialogues of the Eliot Gardiner, Seiji Ozawa, Jeffrey Tate und wurde für seine Beherrschung eines Interpret geschätzt. Außerdem zeichnet er sich Carmelites) an der Netherlands Opera;

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Monostatos (Die Zauberflöte) in Santa Fe; Opera. Außerdem trat er auf dem Kulturinstitutionen Englands und eines der der Opera North dirigiert und tritt regelmäßig Basilio (Le nozze di Figaro) an der Oper von Glyndebourne Festival und mit der phantasievollsten Opernensembles in Europa mit dem Philharmonia Orchestra und dem Nizza, der New Israeli Opera, der Lyric Opera Glyndebourne Touring Opera auf. Außerhalb etabliert – eine dynamische Organisation, die London Philharmonic Orchestra auf. 1996 gab er of Chicago, der English National Opera sowie Englands sang Clive Bayley an der das Verständnis der Oper als Kunstform in sein Debüt beim Glyndebourne Festival mit in Glyndebourne; Dr. Caius (Falstaff ) in Netherlands Opera, der Seattle Opera, in Frage stellt. Das Ensemble erweckt Klassiker Così fan tutte und hat dort 1998 die Israel; Horace Adams (Peter Grimes) in Lissabon, Luzern, Toulouse und München, zu neuem Leben, setzt sich aber auch für Uraufführung von Jonathan Doves Flight geleitet. Florenz, an der English National Opera sowie und im Konzertsaal war er mit Les Arts weniger bekannte Werke und für das Er ist häufig in Spanien zu Gast und hat mit auf dem Saito Kinen Festival in Japan; Albazar Florissants unter William Christie zu hören. Musiktheater ein. Der von der Kritik den meisten bedeutenden spanischen (The Turk in Italy), Gaudenzio in Leoncavallos Clive Bayley pflegt auch eine sehr rege gerühmte Chor und das vielseitige Orchester Orchestern Konzerte gegeben. In Madrid hat er La Bohème und schließlich Dr. Caius (Falstaff ) Tätigkeit als Konzertsänger, darunter mit treten auch selbständig auf und hinterfragen die spanische Uraufführung von Peter Grimes sowie War and Peace an der English National Highlights wie Leonard Bernsteins Candide ständig ihren eigenen Ansatz zur Darbietung dirigiert, und 1996 die erste spanische Opera. mit dem London Symphony Orchestra, von Musik. Der Chandos-Katalog umfasst Inszenierung von The Rake’s Progress. Er ist in Waltons The Bear mit der Northern Sinfonia unter anderem Waltons Troilus und Cressida Deutschland, der Schweiz und den Clive Bayley tritt regelmäßig in den großen sowie Don Fernando in konzertanten und, für die Serie “Opera in English”, Auszüge Niederlanden aufgetreten, bei den Festspielen in Opernhäusern auf, mit einem Repertoire, das Aufführungen von Fidelio mit dem City of aus Mussorgskis Boris Godunov. Pesaro, beim Hong Kong International Festival, von Monteverdi bis Verdi, Puccini, Berg, Birmingham Symphony Orchestra unter in Japan anläßlich einer Carmen-Tournee und Britten und Birtwistle reicht. Sein Debüt an Walter Weller. Seine CD-Einspielungen in der David Parry hat bei Sergiu Celibidache studiert in Mexiko mit dem UNAM Symphony der Royal Opera in Covent Garden feierte er Chandos-Serie “Opera in English” umfassen und seine berufliche Laufbahn als Assistent von Orchestra. Zu den Neuproduktionen, die er in mit der Weltpremiere von Harrison Birtwistles den Bonzen in Madam Butterfly, Ferrando in Sir John Pritchard begonnen. Er hat am English letzter Zeit dirigiert hat, zählen Fidelio beim Gawain; zudem war er hier als Colline (La Il trovatore, den Commendatore in Don Music Theatre debütiert und wurde dann New Zealand Festival, Lucia di Lammermoor an Bohème), Hans Foltz (Die Meistersinger) und Giovanni, Pistol in Falstaff und Timur in Dirigent mit Festvertrag an den Städtischen der New Israeli Opera und Don Giovanni an Castro (La fanciulla del West) zu hören. Zu Turandot. Bühnen Dortmund und an der Opera North. der Staatsoper Hannover. seinen weiteren Rollen zählen Sparafucile Von 1983 bis 1987 war er Musikdirektor der Seine Tätigkeit im Aufnahmestudio umfaßt (Rigoletto), Raleigh (Gloriana) sowie die Als Staatsoper für Nordengland ist die Opera Opera 80 und seit 1992 Gründungsmitglied die Produktion von Marschners Der Vampyr Titelrolle in Le nozze di Figaro an der Opera North der Inszenierung von informativen, und Direktor der Almeida Opera. fürs BBC-Fernsehen und achtundzwanzig North; Cadmus (Semele), die vier Schurken packenden, herausfordernden und Er übt in Großbritannien und international vollständige Opernaufzeichnungen unter der (The Tales of Hoffmann), Collatinus (The Rape unterhaltsamen Spitzenwerken verpflichtet. eine weitgespannte Tätigkeit in den Bereichen Schirmherrschaft der Peter Moores of Lucretia), Hunding (The Valkyrie) und Über 24 Jahre hinweg hat sich die Opera Oper und Konzert aus, hat mehrere Foundation. Darunter befinden sich zahlreiche Narbal (The Trojans) an der English National North als eine der führenden Produktionen der English National Opera und Aufnahmen der Reihe Opera Rara, die

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mehrere Preise gewonnen haben, beispielsweise außerdem The Thieving Magpie, Carmen, den belgischen Prix Cecilia für Donizettis Don Giovanni, Don Pasquale, L’elisir d’amore,

Rosmonda d’Inghilterra. Für Chandos hat er die Lucia di Lammermoor, Ernani, Il trovatore, Barda Clive Aufzeichnung einer Serie von Programmen Aida, Faust, Cavalleria rusticana, Pagliacci, mit Opernarien geleitet (mit Bruce Ford, La bohème, Turandot, die preisgekrönte Tosca Diana Montague, Dennis O’Neill, Alastair und Highlights aus dem Rosenkavalier, jeweils Miles, Yvonne Kenny, John Tomlinson, Della in Zusammenarbeit mit der Peter Moores Jones, Alan Opie und Andrew Shore), Foundation. Clive Barda Clive

On session: Bruce Ford and Sir Peter Moores On session: Diana Montague

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dominait Mannheim. L’on déclara même à (pour Vienne, Mozart réécrivit le rôle pour un Mozart: Idomeneo l’époque: “Il serait difficile de trouver un autre ténor); le rôle fut confié à un chanteur assez grand homme qui ait incorporé si intimement peu expérimenté, Vincenzo dal Prato, que Idoménée, dans la légende grecque, fils de L’œuvre de Campra fut certainement la la musique à sa vie”. A Mannheim, Mozart Mozart dut ménager. Le ténor Domenico de Deucalion, petit-fils de Minos et de Pasiphaé, et source principale du livret pour l’opéra de se lia d’amitié avec de nombreux musiciens Panzacchi, qui chanta le rôle du confident roi de Crète. Il fit la cour à Hélène et prit part à Mozart qui fut créé à Munich le 29 janvier qui participeraient à Idomeneo. Il s’attela à Arbace, insista pour avoir deux arias. Aucune la guerre de Troie. Dans l’Odyssée, Homère lui 1781. Le librettiste de Mozart, l’abbé l’opéra avant de quitter Salzbourg le 5 des deux n’est mémorable, et elles sont souvent réserve un retour heureux avec tous ses salzbourgeois Giovanni Battista Varesco, novembre. La composition de cette partition omises, comme dans le cas présent. Pour une compatriotes ayant survécu à la guerre. Dans simplifia l’intrigue de Danchet et opta pour est bien documentée dans les lettres qu’il représentation privée à Vienne en 1786, une tradition post-homérique, ayant été surpris une fin heureuse plutôt que tragique. Les cinq écrivit à son père, ce dernier servant parfois Mozart fit plusieurs révisions appréciables, par une violente tempête, il jure de sacrifier à actes furent réduits à trois en conformité avec d’intermédiaire entre le compositeur et le raccourcissant la partition. Poséidon le premier être vivant qu’il verra à les opéras “réformés” de Gluck. L’influence de librettiste. En ce début de carrière – il avait alors vingt- son retour. Mais c’est son fils qui l’accueille l’un de ces opéras, Alceste, est d’ailleurs Dans ses lettres à sa famille, Mozart décrivit cinq ans – Mozart faisait encore l’apprentissage et Idoménée est obligé de l’immoler; un fléau manifeste dans les passages les plus ampoulés, les réactions des chanteurs – pour la plupart de son art. Il tenait avant tout à ce que l’opéra s’abat alors sur le pays et Idoménée est les plus solennels d’Idomeneo alors que les arias favorables – et l’approbation de l’électeur de soit une réussite sur le plan théâtral et donc, banni… doivent plus au lyrisme italien. Bavière qui avait entendu une partie de la lorsqu’il en vint à préparer l’œuvre pour la Voilà ce que m’apprend mon exemplaire Mozart reçut la commande de cette œuvre musique en répétition. La première, à laquelle scène, il fit plusieurs coupures. Ces dernières vieux de trente-cinq ans de l’Encyclopaedia de l’Intendant [ou directeur] de l’Opéra de assista Leopold Mozart, fut bien accueillie. Les années, avec l’importance attribuée à Brittanica. Cette histoire fut à l’origine d’un Munich, le comte Seeau, durant l’été de 1780. décors évocateurs étaient de Lorenzo Quaglio, l’authenticité, leur rétablissement a fait couler opéra de Campra sur un livret d’Antoine Anton Raaff, le ténor sur le retour pour qui alors au sommet de sa profession. A soixante- beaucoup d’encre et soulevé bien des Danchet, créé à l’Opéra de Paris en 1712. A la Mozart conçut le rôle-titre, aurait contribué à six ans, Raaff trouva sans doute cette musique controverses. Le plus étrange, c’est que Mozart fin de l’Idoménée de Campra, Idoménée, rôle l’attribution de cette commande à Mozart. Ce difficile, en particulier à cause des nombreux conserva les arias d’Arbace et le ballet final à tenu par une basse, sombre dans la folie, tue dernier connaissait la plupart des chanteurs et passages colorature, et pourtant Mozart prit Munich mais rejeta l’aria finale d’Electre, un son fils Idamante et seule l’intervention de sa des acteurs après les quatre mois et demi si soin de ne pas le faire chanter trop haut trop air d’une extraordinaire originalité dans lequel suite l’empêche de se suicider. Récemment heureux qu’il venait de passer au théâtre de la souvent. Dorothea Wendling et sa belle-sœur elle devient folle furieuse; heureusement pour repris par le chef d’orchestre baroque William cour de Mannheim. Dans cette ville, capitale Elisabeth, qui avaient toutes deux travaillé avec nous, l’aria retrouve ici sa place. Christie, cet opéra s’avère être une magistrale du Palatinat, les arts fleurissaient. Sous Mozart à Mannheim, se virent confier les deux Cet opéra, considéré aujourd’hui comme le tragédie lyrique à part entière, qui influença l’influence bienveillante de Carl Theodor, rôles féminins: Dorothea était Ilia, Elisabeth premier véritable chef d’œuvre de Mozart pour probablement Mozart. directeur de théâtre éclairé, la musique Electre. Idamante fut écrit pour un castrat la scène lyrique, fut délaissé pendant de

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longues années. A l’époque, Mozart voulait originale composée pour Munich, une décision soprano lyrique, est d’une beauté suprême sur Electre, l’étrangère, est dépeinte comme telle, bien sûr le monter dans différents théâtres, contestable puisque l’œuvre sous cette forme le plan de la ligne vocale et de l’émotion, et les elle n’est jamais vraiment intégrée à la texture mais il dut attendre cinq ans après cette dure presque aussi longtemps qu’un opéra de cordes soutiennent à merveille les solos des musicale ou dramatique. Ilia évolue tout au création pour voir son œuvre reprise à Vienne, Wagner. vents. On comprend aisément que Dorothea long de l’opéra, passant de la triste jeune fille et encore, pour une seule représentation en Cet opéra s’est attiré un respect croissant Wendling se soit déclarée “arcicontentissima” qui languit d’amour à une femme de stature version de concert chantée par des amateurs au dans de nombreux théâtres lyriques même si (archisatisfaite) de sa musique. quasiment héroïque prête à se sacrifier pour Palais Auersperg. Comme je l’ai déjà aujourd’hui encore sa place au répertoire Quant à Electre, Elisabeth se prononça tout son cher Idamante: le long épisode dans lequel mentionné, le rôle d’Idamante fut confié à un courant n’est pas entièrement garantie: c’est aussi ravie de sa musique, et elle aurait eu tort on prépare le jeune homme pour le sacrifice et ténor et cela entraîna quelques changements dans le cadre des festivals qu’il est le plus de ne pas l’être, puisque le compositeur lui l’intervention opportune d’Ilia ne manquent dans les ensembles. Idamante bénéficia aussi souvent monté. Ceci s’explique sans doute en offre tout un éventail d’humeurs pour illustrer jamais d’émouvoir le public dans toute d’une nouvelle aria bien développée avec partie par le côté statique de l’intrigue et par le ses émotions contradictoires. Les chanteurs représentation correcte. Parallèlement, mais violon obbligato (absente, bien sûr, de la fait que l’opera seria en tant que genre n’est pas principaux furent nettement plus dans une moindre mesure, Idamante passe version que voici) ainsi qu’un duo plus court toujours du goût du grand public. En un sens, problématiques. Comme nous l’avons vu, de l’adolescent à l’homme adulte dans une et différent sur le plan musical avec Ilia à il faudrait réserver cette œuvre aux grandes Raaff n’était plus très jeune et ses vues étaient série d’arias et de duos d’une grande franchise. l’Acte III. occasions, d’abord à cause de la noblesse avec très traditionnelles. Quant à Dal Prato Arbace, bien qu’il n’ait pas d’arias, ou Lorsque l’opéra fut repris au début du laquelle elle présente des émotions intenses (Idamante), Mozart le compara à un enfant de peut-être justement parce qu’il n’a pas d’arias, XXe siècle dans les pays de langue allemande, dans une musique d’une grande profondeur et chœur, toujours enclin à se tromper sur le plan est un conseiller compatissant pour le roi et ce fut souvent dans des adaptations d’une beauté extraordinaire, ensuite à cause de vocal ou théâtral. Mozart lui confie au centre de l’œuvre un préjudiciables comme celles de Richard Strauss son orchestration si émouvante. Comme Mozart ne se contenta pas de satisfaire aux récitatif accompagné d’une profonde ou Bernard Paumgartner. Il fallut attendre l’écrivit l’éminent spécialiste mozartien Daniel plaisirs et aux caprices de sa première introspection. Glyndebourne et sa célèbre mise en scène de Heartz dans un essai remarquable sur cette distribution. Sur tous les plans, l’écriture fait Au cœur de l’histoire se situe le souverain 1951 pour que cet opéra trouve sa voie et œuvre pour The Musical Times: “Mozart ayant preuve d’ampleur et de nouveauté dans sa du titre. Après le soulagement d’avoir échappé triomphe, grâce en grande partie à l’inspiration entrepris de recréer le drame à travers son art, structure et ses effets, et elle explore des sain et sauf aux tempêtes et à Neptune, il du chef d’orchestre Fritz Busch et du metteur il s’en suivit certaines des pages musicales les profondeurs psychologiques jamais atteintes sombre dans la tourmente lorsqu’il rencontre en scène Carl Ebert. Ils utilisèrent un ténor plus personnelles et les plus passionnées qu’il dans la plupart des opéras précédents, à son fils sur le rivage. Pratiquement jusqu’au pour le rôle d’Idamante et amalgamèrent les ait jamais composées.” l’exception peut-être des chefs d’œuvre de bout, il est incapable de décider s’il doit différentes éditions. L’interprétation la plus L’aria centrale d’Ilia, “Se il padre perdei” Gluck et Monteverdi. Mozart trouve la sacrifier son fils, comme il l’a promis dans un récente (en 2003) est celle de Simon Rattle qui (“My father was taken”, CD1, plage 18 ) à musique qui convient aux émotions de chaque serment malavisé. Sa musique décrit très choisit de suivre au pied de la lettre la version l’Acte II, long épanchement sensuel pour personnage au moment voulu dans son œuvre. clairement le supplice qu’il vit. Un ténor tel

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Bruce Ford, avec ses talents vocaux et son la foule – un vrai coup de génie. Quant à L’argument l’aperçoit, mais les deux hommes ne se intelligence, réussit à créer un personnage à la l’intervention du Grand Prêtre et celle reconnaissent pas. Idoménée sait seulement fois profondément troublé et vulnérable mais de Neptune, deus ex machina à l’Acte III, COMPACT DISC ONE qu’en accordance avec son serment, cet aussi d’une grande noblesse. elles sont toutes deux saisissantes et originales, homme doit être immolé en sacrifice. Cette partition renferme d’autres trésors et Mozart fait intervenir pour la première 1 Ouverture Finalement, ils se reconnaissent et Idoménée, extraordinaires d’invention, contenus dans les fois les trombones lorsque Neptune paraît. désespéré, repousse son fils, un geste qui laisse ensembles. Jamais encore à l’opéra ces passages Si bien que l’oreille est constamment Acte premier Idamante perplexe et malheureux. développés illustrant les sentiments variés des stimulée par des idées et des sonorités 2 – 3 Ilia, fille de Priam, le roi de Troie 16 Les Crétois célèbrent le retour heureux participants n’avaient été aussi longs et aussi nouvelles. vaincu, fait partie des prisonniers troyens en de la flotte. sûrs dans leur expression. Je pense en Sur le plan purement musical, l’invention captivité en Crète. Elle est partagée entre sa particulier au trio “Pria di partir” (“If I must instrumentale a toute la pertinence que l’on haine de l’ennemi crétois et son amour Acte II leave”, CD2, plage 4 ) à l’Acte II et au attend de Mozart. L’audace harmonique naissant pour Idamante, le fils du roi de Crète 17 Idoménée révèle à Arbace le serment qu’il a quatuor d’une éloquence sans pareille “Andrò domine dans sa peinture de la désolation du alors absent, Idoménée. Mais elle craint fait à Neptune. Arbace conseille au roi ramingo e sol” (“Alone the earth I wander”, drame, et les relations tonales semblent qu’Idamante ne soit amoureux d’Electre, d’envoyer Idamante et Electre à Argos, la CD2, plage 13 ) à l’Acte III. Dans ces deux choisies pour s’adapter au développement la fille d’Agamemnon, qui vit en exil en patrie de la jeune fille. Une fois Idamante passages, chaque personnage suit une ligne de l’intrigue. Même la construction du Crète. 4 – 7 Idamante libère Ilia et les éloigné, on trouvera peut-être un autre moyen vocale indépendante et pourtant l’ensemble récitatif est plus variée et plus remarquabl prisonniers et avoue à Ilia qu’il l’aime, mais d’apaiser la colère de Neptune. reste parfaitement cohérent. Un avant-goût des que dans les exemples précédents d’opera cette dernière lui cache les sentiments qu’elle 18 Ilia vient remercier Idoménée de lui merveilleux ensembles des opéras avec da seria. lui porte. 8 Arbace vient annoncer avoir rendu sa liberté et lui demande de Ponte. Une œuvre aussi complexe et pourtant aussi qu’Idoménée a péri dans une tempête en mer. prendre la place de son père mort. Et bien sûr, n’oublions pas ces chœurs directe recèle constamment de nouveaux 9 Electre, qui espérait qu’Idoménée à son 19 – 20 Le roi se rend compte qu’Idamante superbes, dans lesquels la foule déconcertée trésors pour l’auditeur attentif. J’ai une longue retour la choisirait comme épouse pour son et Ilia s’aiment. Il décide qu’Idamante est exprime ses émotions changeantes. Le plus expérience de cet opéra et il n’a jamais manqué fils, est désespérée, 10 – 11 surtout lorsqu’elle certainement responsable du courroux de original de ces chœurs se situe à la fin de l’Acte de me stimuler auditivement et de découvre qu’Idamante aime Ilia. Neptune car il aime Ilia et a libéré les II: “Corriamo, corriamo” (“Disaster! Run m’émouvoir, en particulier à l’Acte III où les 12 – 13 Idoménée a survécu à la tempête en prisonniers troyens. faster to flee such a horror!”, CD2, plage 7 ) sentiments atteignent un paroxysme jurant à Neptune de lui sacrifier le premier 21 – 22 Electre est heureuse de quitter lorsque la foule réagit avec désespoir à l’aveu insoutenable. être humain qu’il rencontrerait après avoir la Crète et elle espère qu’une fois éloigné d’Idoménée. Il ne s’achève pas par une vraie touché terre. 14 – 15 Idamante, qui cherche le d’Ilia, Idamante acceptera l’amour qu’elle lui cadence, et le public demeure aussi inquiet que © 2004 Alan Blyth corps de son père parmi les naufragés, porte.

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COMPACT DISC TWO 18 Durant les préparatifs pour le sacrifice, spécialise dans les œuvres les plus difficiles de Bruce Ford a confié une grande partie de des cris de joie retentissent. Idamante a Mozart et du répertoire bel canto. Depuis plus son répertoire au disque. On notera entre 1 – 4 Alors que leur bateau s’apprête à triomphé du monstre. 19 Idoménée, conscient de dix ans, Bruce Ford joue un rôle majeur autres la version originale de Lucia di partir, une violente tempête éclate. 5 Certains que cette victoire ne fera qu’accroître la fureur dans la revalorisation de nombreux opéras bel Lammermoor sous Sir Charles Mackerras, trois que Neptune continue de les punir, les Crétois de Neptune, sait qu’il ne peut plus faire canto, autant au disque qu’en concert. Bien des récitals d’airs d’opéra en soliste (“Héros exigent de savoir qui a bien pu le contrarier. obstacle à la mort de son fils. 20 Idamante théâtres ont repris exprès pour lui des opéras romantiques” et “Rossini sérieux” pour Opera 6 – 7 Idoménée avoue être coupable et accepte son destin en accordance avec le jusque-là négligés à tort, entre autres The Rara ainsi que “Grands Airs d’opéra” pour lance un défi à Neptune, réclamant le droit serment de son père. Idoménée s’apprête à Royal Opera (l’Otello de Rossini) ainsi que les Chandos en association avec la fondation Peter d’être lui-même sa victime. Une créature l’immoler lorsqu’Ilia vient s’offrir en victime à festivals de Glyndebourne (Ermione) et Pesaro Moores), et les enregistrements pour Opera monstrueuse émerge de la mer démontée. la place d’Idamante. 21 C’est alors que l’on (Zelmira et l’Otello de Rossini). Il a également Rara d’opéras rares de Mayr, Donizetti, Pacini entend la voix de Neptune qui déclare l’amour chanté à La Scala, dans les théâtres lyriques de et Rossini, enregistrements fort prisés par la Acte III vainqueur: Idoménée doit renoncer à son Naples, Florence et Bologne ainsi que dans le critique. Ses interprétations superbes de héros 8 – 10 Idamante a décidé que la seule façon trône en faveur d’Idamante qui aura Ilia à ses cadre du Mai Musical de Florence et du mozartiens, Mitridate (The Royal Opera) et de mettre fin aux ravages causés par le monstre côtés. 22 – 23 Electre est furieuse de voir ses Festival de Salzbourg. C’est en tant Oreste dans Ermione (à Glyndebourne) sont est de détruire ce dernier. Craignant espoirs s’effondrer. 24 – 25 Idoménée confie qu’Almaviva dans le Barbier de Séville – le rôle disponibles sur vidéo/DVD. Malgré ses qu’Idamante ne meure à ce combat, Ilia Idamante et Ilia à son peuple. qu’il a le plus souvent interprété dans sa quelque vingt ans de scène, son répertoire du lui avoue qu’elle l’aime. 11 Alors que les carrière à ce jour – qu’il a fait ses débuts au ténor ne cesse de s’élargir et il vient d’ajouter à deux jeunes gens célèbrent leur amour, © 2004 Royal Opera, au Metropolitan Opera, au Los sa discographie le rôle-titre de La Clémence de 12 – 13 Idoménée arrive avec Electre et Traduction: Nicole Valencia Angeles Opera ainsi qu’au Dallas Opera. Titus et celui d’Idoménée de Mozart. ordonne à son fils de quitter la Crète sur-le- En concert, il s’est produit dans des lieux Dans la collection Opera in English de champ, mais sans lui révéler la raison de sa Le ténor américain Bruce Ford est sans aussi prestigieux que La Scala, Carnegie Hall Chandos il a enregistré deux disques de grands froideur apparente à son égard. conteste l’un des chanteurs les plus et le Concertgebouw d’Amsterdam ainsi que airs d’opéra et un disque d’airs d’opérettes. 14 Arbace se plaint que les dieux ont remarquables de notre temps. On ne tarit pas dans le cadre du Festival d’Edimbourg. Il est abandonné la Crète. 15 – 17 Le Grand Prêtre d’éloges sur la beauté et l’étendue de sa voix, la très demandé comme récitaliste. Il a travaillé Susan Patterson s’est imposée comme l’une décrit les ravages sur l’île: les rues sont façon dont il vit un texte, sa maîtrise avec de nombreux chefs d’orchestre dont des grandes sopranos lirico spinto grâce à ses inondées de sang, jonchées de cadavres et de stylistique et sa virtuosité technique ainsi que Claudio Abbado, Riccardo Muti, Sir Charles interprétations triomphales avec l’English mourants. Idoménée finit par admettre que ses talents d’acteur. Il est invité régulièrement à Mackerras, Richard Bonynge, Sir Roger National Opera (Rusalka de Dvorˇák, Violetta, c’est son propre fils, Idamante, qui doit être se produire dans les plus grands théâtres Norrington, Sir Colin Davis et David Parry, Marguerite et Hélène dans Mefistofeles de sacrifié. d’Amérique du Nord et d’Europe, où il se pour n’en citer que quelques-uns. Boito), le Washington Opera (Tosca), le

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Baltimore Opera (Mimì et Aïda), l’Opera notamment le rôle de Carolina (Il matrimonio (Fidelio), Norina (Don Pasquale) et Héro Diana Montague naquit à Winchester et fit Company of Philadelphia (Violetta, Donna segreto) et Elvira (Ernani) pour Chandos. (Béatrice et Bénédict) pour le Welsh National ses études au Royal Northern College of Anna et les quatre héroïnes des Contes Susan Patterson chante également Opera; Romilda (Xerxes) pour l’English Music. Depuis ses débuts dans le rôle de d’Hoffmann). Elle fit ses débuts au régulièrement en concert, son répertoire allant National Opera; et Zerlina et Nanetta pour le Zerlina avec le Glyndebourne Touring Opera, Metropolitan Opera en 1998 dans le rôle de la de Haendel, Beethoven et Mendelssohn à Royal Opera House, Covent Garden. elle s’est produite dans des théâtres aussi Chanteuse italienne dans Capriccio de Strauss. Rossini, Poulenc, Szymanowski et Mahler. Elle En concert, elle s’est produite dans le cadre prestigieux que le Royal Opera House, Covent La traviata est l’œuvre qui a dominé la a aussi chanté le Requiem de Verdi avec le des Promenade Concerts de la BBC et au Garden, le Metropolitan Opera à New York, le carrière de Susan Patterson: elle l’a donnée avec Washington Opera sous la baguette de Placido Festival international d’Edimbourg. Elle a Théâtre de la Monnaie à Bruxelles, l’Opéra de nombreuses companies dont le San Domingo pour le centenaire de la mort du chanté le Magnificat de Bach avec le San national de Paris-Bastille, le Teatro Colon à Francisco Opera, le New York City Opera, le compositeur. Francisco Symphony Orchestra sous la Buenos Aires ainsi que dans le cadre des Lyric Opera of Chicago, le Palm Beach Opera, baguette de Michael Tilson Thomas, le Festivals de Bayreuth et Salzbourg. le Michigan Opera Theatre, le Baltimore Opera Rebecca Evans naquit dans le sud du Pays de Requiem de Brahms avec le Boston Symphony Son répertoire comprend tous les grands ainsi qu’à Vancouver et Montréal. Ce fut dans Galles et fit ses études à la Guildhall School of Orchestra dirigé par Jeffrey Tate, et Faust rôles de mezzo-soprano des opéras de Mozart, le rôle de Violetta qu’elle fit ses débuts Music and Drama. Elle s’est déjà forgé une Szenen de Schumann ainsi que le Requiem de Gluck, Strauss, Rossini, Bellini et Berlioz, et européens avec le Welsh National Opera sous la solide carrière à l’opéra en Amérique où elle a Brahms au Festival de Ravinia. Elle a elle a chanté en concert sous Georg Solti, baguette de Sir Charles Mackerras. Parmi ses chanté Susanna (Le nozze di Figaro) pour le également chanté en Australie dans le cadre du James Levine, Riccardo Muti, John Eliot autres rôles, notons Manon Lescaut (Spoleto Santa Fe Opera; Adèle (Die Fledermaus) pour Festival international de Melbourne, donnant Gardiner, Seiji Ozawa, Jeffrey Tate et Andrew Festival Opera USA); Falstaff (Atlanta Opera); le Chicago Lyric Opera; Zerlina (Don par ailleurs une tournée de concerts avec Davis. Elle a chanté entre autres Iphigénie en Ernani (Reisopera aux Pays-Bas); Fiordiligi et Giovanni), Anne Trulove (The Rake’s Progress) l’Australian Chamber Orchestra. Tauride à Buenos Aires, Madrid et avec le Constanze, Donna Anna, Donna Elvira de et Adina (L’elisir d’amore) pour le San Elle a donné des récitals au Wigmore Hall à Welsh National Opera; Le Comte Ory à Mozart, Anne Trulove; Marguerite (Faust) (San Francisco Opera; et elle a été Susanna et Londres ainsi que dans le cadre des Festivals de Lausanne, Rome et Glyndebourne; Francisco Opera); Rosalinde (Die Fledermaus), Zerlina au Metropolitan Opera à New York. Barcelone, Ravinia, Buxton et Belfast. Elle a Andromaque dans Ermione de Rossini à Musetta et Gilda. En Europe, elle a chanté à En Europe, elle fut entre autres Sophie enregistré entre autres Le nozze di Figaro en Glyndebourne; Proserpine dans Orfeo de La Scala de Milan (Lodoïska de Cherubini sous (Der Rosenkavalier), Zdenka (Arabella), Servilia anglais, The Pirates of Penzance, HMS Pinafore Monteverdi à Amsterdam; Il ritorno d’Ulisse in la direction de Riccardo Muti); à l’Opéra (La clemenza di Tito), Ilia (Idomeneo) et, plus et Trial by Jury, tous sous la baguette de Sir patria à Amsterdam et Sydney; Sesto à Madrid; Néerlandais (Le Comte Ory et Mitridate); à récemment, Nanetta (Falstaff ) pour l’Opéra de Charles Mackerras; pour Chandos Nannetta le Compositeur (Ariadne auf Naxos) pour Aix-en-Provence (Constanze); à l’Opéra de Munich; Ilia pour l’Opéra de Lausanne; le (Falstaff ), Hugh The Drover, un disque solo de Scottish Opera et à Lisbonne; Meg Page Cologne et à l’Opéra-Comique de Paris rôle-titre de La Petite Renarde rusée pour chansons italiennes, le Requiem de Delius et (Falstaff ) pour la réouverture du Royal (L’occasione fa il ladro). Elle a enregistré Scottish Opera; Susanna, Ilia, Marcellina Dies natalis de Finzi. Opera House, Covent Garden; Octavian

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(Der Rosenkavalier) à Naples, Bilbao et au a marqué cinquante ans d’enregistrement pour (Così fan tutte), Tamino (Die Zauberflöte), Clive Bayley chante régulièrement avec les Teatro Real à Madrid; et Marguerite à Vienne. Nicolai Gedda. Il fit ses débuts à La Scala de Lensky (Eugène Onéguine) et Flamand plus grandes compagnies lyriques dans un Parmi les nombreux enregistrements de Milan en 1953, à l’Opéra de Paris en 1954, et (Capriccio). Il fit ses débuts lyriques avec le répertoire allant de Monteverdi à Verdi, Diana Montague, notons entre autres Orfeo de au Metropolitan Opera de New York (dans le Welsh National Opera en 1964 sous les traits Puccini, Berg, Britten et Birtwistle. Il fit ses Monteverdi, I Capuleti e i Montecchi, Norma, rôle titre de Faust de Gounod) en 1957. Après du comte Almaviva (Il barbiere di Siviglia); débuts avec le Royal Opera, Covent Garden Lucia di Lammermoor, Iphigénie en Tauride; ses débuts au Royal Opera de Covent Garden c’est en 1969 qu’il fit ses débuts au Royal dans la création mondiale de Gawain de pour Opera Rara, elle a enregistré Rosmonda en 1965 (dans le rôle du Duc de Mantoue Opera House où il a été entre autres Harrison Birtwistle avant d’être Colline d’Inghilterra, Zoraida di Granata et Il crociato dans Rigoletto de Verdi), il revint y chanter Don Ottavio (Don Giovanni), Ernesto (La Bohème), Hans Foltz (Die Meistersinger) et in Egitto, et dans la collection Opera in Benvenuto Cellini, Alfredo, Gustavus III dans (Don Pasquale), Fenton (Falstaff ) et Lysander Castro (La fanciulla del West). Parmi ses autres English chez Chandos, Cavalleria rusticana, Un ballo in maschera, Nemorino et Lensky. Il (A Midsummer Night’s Dream). rôles, notons Sparafucile (Rigoletto), Raleigh Octavian dans Der Rosenkavalier (extraits), créa des rôles importants dans Vanessa de Parmi ses autres rôles notons Turandot (Gloriana) et le rôle-titre de Le nozze di Figaro Faust, et deux disques de grands airs d’opéra Barber et dans The Last Savage de Menotti au (Opéra de Genève); La finta giardiniera (Welsh pour Opera North; Cadmus (Semele), les (CHAN 3010 et 3093). Metropolitan Opera de New York. National Opera); Arbace (Idomeneo) pour quatre scélérats (The Tales of Hoffmann), Ses triomphes à l’opéra sont allés des œuvres le Metropolitan Opera et à Garsington; le Collatin (The Rape of Lucretia), Hunding Nicolai Gedda est reconnu dans le monde de Haydn et de Mozart à celles de Stravinsky, Duc (Chérubin) pour The Royal Opera et à (The Valkyrie en anglais) et Narbal entier comme l’un des plus grands artistes de Orff, Barber et Menotti. En récital, il est Monte-Carlo; le Père confesseur (Les Dialogues (The Trojans) pour l’English National Opera. notre temps, et il a été acclamé pour sa considéré comme un interprète exceptionnel de des Carmélites) pour l’Opéra Néerlandais; Il a également chanté avec le Glyndebourne maîtrise d’un immense répertoire couvrant lieder. Il est également le ténor le plus enregistré Monostatos (Die Zauberflöte) à Santa Fe; Festival Opera et le Glyndebourne Touring presque tous les styles et les périodes dans les au monde avec 200 disques à son actif. Parmi Basilio (Le nozze di Figaro) pour l’Opéra de Opera. En dehors du Royaume-Uni, Clive domaines de l’opéra, de l’oratorio, du lied et ceux-ci figurent des opéras complets tels que Nice, le New Israeli Opera, le Lyric Opera of Bayley a chanté avec l’Opéra Néerlandais, le du chant avec orchestre. Guillaume Tell, La Bohème, Faust, Werther, Chicago, l’English National Opera et à Seattle Opera, à Lisbonne, Lausanne, Né à Stockholm d’un père russe (chanteur Manon, Così fan tutte et Benvenuto Cellini. Glyndebourne; Dr. Caïus (Falstaff ) en Israël; Toulouse, Munich et en concert avec Les Arts basse) et d’une mère suédoise, Nicolai Gedda Horace Adams (Peter Grimes) à Florence, à Florissants et William Christie. fit ses débuts professionnels à l’Opéra royal de Natif du sud du Pays de Galles, Ryland Davies l’English National Opera et au Festival Saito Clive Bayley se produit également Stockholm en 1952 dans Le Postillon de fit ses études au Royal Manchester College of Kinen au Japon; Albazar (Il Turco in Italia en fréquemment en concert: parmi les moments Longjumeau. Herbert von Karajan se trouvait Music dont il devint membre honoraire en anglais), Gaudenzio dans La Bohème de forts de sa carrière, notons Candide de dans la salle, et l’engagea immédiatement pour 1971. Il a tenu de nombreux rôles pour le Leoncavallo et Dr. Caïus (Falstaff ) ainsi que Leonard Bernstein avec le London Symphony chanter dans son enregistrement de la Messe Glyndebourne Festival Opera dont Belmonte Guerre et Paix pour l’English National Orchestra, The Bear de Walton avec le en si mineur de J.S. Bach. Ainsi, l’année 2002 (Die Entführung aus dem Serail), Ferrando Opera. Northern Sinfonia, et Don Fernando dans une

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version de concert de Fidelio avec le City of Walton et, pour la série Opera in English, de The Rake’s Progress. Il a dirigé en Allemagne, et primées, Rosmonda d’Inghilterra de Birmingham Symphony Orchestra sous la des extraits de Boris Godunov de en Suisse, aux Pays-Bas, au Festival de Pesaro Donizetti recevant en Belgique le Prix Cecilia. baguette de Walter Weller. Il a enregistré entre Moussorgsky. en Italie, au Festival international de Hong- Pour Chandos, David Parry a dirigé une série autres pour la série Opera in English les rôles Kong, au Japon pour une tournée de Carmen d’enregistrements d’airs d’opéra (avec Bruce du Bonze (Madam Butterfly), de Ferrando dans Après avoir étudié avec Sergiu Celibidache, et au Mexique avec l’Orchestre symphonique Ford, Diana Montague, Dennis O’Neill, Il Trovatore, du Commandeur dans Don David Parry commença sa carrière comme d’UNAM. Il a récemment dirigé plusieurs Alastair Miles, Yvonne Kenny, John Giovanni, de Pistol dans Falstaff et de Timur assistant de Sir John Pritchard. Il fit ses débuts nouvelles productions dont Fidelio au Festival Tomlinson, Della Jones, Alan Opie et dans Turandot. avec l’English Music Theatre avant de devenir de Nouvelle-Zélande, Lucia di Lammermoor Andrew Shore) de même que The Thieving l’un des chefs d’orchestre au Städtische avec le New Israeli Opera et Don Giovanni a Magpie, Carmen, Don Giovanni, Don Pasquale, Opera North est la compagnie lyrique Bühnen à Dortmund et à Opera North. l’Opéra d’état de Hannover. L’elisir d’amore, Lucia di Lammermoor, nationale pour le Nord de l’Angleterre. Elle Directeur musical d’Opera 80 de 1983 à 1987, En studio, il a participé entre autres Ernani, Il trovatore, Aida, Faust, Cavalleria vise, à travers des mises en scène de grande il est directeur musical d’Almeida Opera à la production de la BBC Television de rusticana, Pagliacci, La bohème, Turandot, qualité, à informer, passionner, provoquer et depuis sa fondation en 1992. Der Vampyr de Marschner, dirigeant aussi l’enregistrement primé de Tosca et des extraits divertir. Durant les vingt-quatre ans de son Sa carrière, nationale et internationale, est vingt-huit intégrales d’opéras financées par la de Der Rosenkavalier, tous ces enregistrements existence, Opera North s’est imposée comme extrêmement remplie, aussi bien sur la scène Peter Moores Foundation. Plusieurs de ces étant réalisés en collaboration avec la Peter l’une des principales organisations artistiques lyrique qu’en concert. Il a dirigé plusieurs intégrales furent enregistrées pour Opera Rara Moores Foundation. d’Angleterre et l’une des compagnies lyriques productions de l’English National Opera et de les plus imaginatives d’Europe. C’est un l’Opera North et collabore régulièrement avec ensemble plein de vie qui remet en question le Philharmonia Orchestra et le London notre idée de l’opéra en tant qu’art. Insufflant Philharmonic Orchestra. C’est avec Così fan une vie nouvelle aux grands classiques de tutte qu’il fit ses débuts au Festival de l’opéra, la compagnie défend également avec Glyndebourne en 1996, une scène qu’il ardeur les œuvres moins connues et le théâtre retrouva en 1998 pour diriger la création musical. Le Chœur, porté aux nues par les mondiale de Flight de Jonathan Dove. critiques, et l’Orchestre aux talents si variés se Il séjourne fréquemment en Espagne où il a produisent aussi séparément, remettant sans dirigé en concert la plupart des grands cesse en question leur façon d’aborder la orchestres espagnols. C’est lui qui dirigea la musique. Parmi les enregistrements réalisés première espagnole de Peter Grimes à Madrid pour Chandos, notons Troilus and Cressida de et en 1996 la première production espagnole

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difficile trovare un altro grande che più di lui dovette seguire da vicino. Domenico de Mozart: Idomeneo abbia intessuto la musica nella propria vita.” Panzacchi, che interpretò la parte tenorile del Qui Mozart fece amicizia con molti musicisti confidente Arbace, insisté per avere due arie. Idomeneo, re di Creta, figlio di Deucalione e L’opera fu sicuramente la fonte principale che avrebbero interpretato Idomeneo. Iniziò a Nessuna delle due è memorabile ed entrambe nipote di Minosse, figura tra i pretendenti per il libretto della versione mozartiana, lavorare all’opera prima di partire da vengono spesso omesse, come in questa d’Elena e partecipò alla guerra di Troia. Fra i rappresentata per la prima volta a Monaco il Salisburgo il 5 novembre, come testimoniano registrazione. Per una rappresentazione privata “ritorni”, secondo l’Odissea, il suo fu uno dei più 29 gennaio 1781. Il librettista di Mozart, le lettere indirizzate al padre, che talvolta fece a Vienna nel 1786, Mozart apportò notevoli felici. Ma una versione della sua leggenda narra Giovanni Battista Varesco, pastore di da intermediario tra il compositore e il suo revisioni, abbreviando per lo più la partitura. che, durante il viaggio da Troia a Creta, la sua Salisburgo, semplificò la vicenda di Danchet e librettista. Il compositore aveva appena venticinque flotta fu assalita da una tempesta e Idomeneo trasformò la tragedia in una storia a lieto fine. Mozart riferiva le reazioni dei cantanti – anni e, in questo stadio iniziale della sua fece voto di sacrificare a Poseidone il primo I cinque atti furono ridotti a tre, in prevalentemente favorevoli – e parlava carriera, stava ancora imparando. Desiderava essere umano che avesse incontrato nel suo ottemperanza alla riforma di Gluck, e infatti dell’apprezzamento manifestato dall’Elettore soprattutto che l’opera risultasse valida dal regno. Ora il primo essere umano che vide l’influenza dell’Alceste si nota nei passaggi più locale nei confronti della musica eseguita alle punto di vista teatrale e per questo, durante la approdando fu suo figlio e Idomeneo lo altisonanti, ieratici dell’ Idomeneo, mentre le prove. La prima, a cui fu presente Leopold preparazione per le scene, fece una serie di sacrificò. Ben presto però scoppiò una pestilenza arie devono di più allo stile lirico italiano. Mozart, ebbe una buona accoglienza. Autore tagli. Il loro ripristino, suggerito negli ultimi a Creta e Idomeneo fu bandito per placare gli La commissione fu offerta a Mozart dal delle suggestive scenografie fu Lorenzo tempi da una maggiore preoccupazione per dei…. conte Seeau, sovrintendente dei teatri di corte Quaglio, una figura di rilievo in questo campo l’autenticità, è stato argomento di grandi Fin qui, il dizionario mitologico; la di Monaco nell’estate del 1780 e si pensa che a all’epoca. Il sessantaseienne Raaff forse trovò discussioni e di qualche controversia. leggenda fu la base di un’opera di André questa iniziativa non fosse estraneo Anton piuttosto difficile la musica, che comportava Stranamente, Mozart conservò le arie di Campra su libretto di Antoine Danchet, Raaf, tenore ormai di una certa età, per il parecchi esempi di coloritura, anche se Mozart Arbace e il balletto di conclusione a Monaco, presentata per la prima volta all’Opéra di quale Mozart concepì la parte. Il compositore si adoperò per evitare di inserire troppe note ma escluse l’ultima e straordinaria aria della Parigi nel 1712. L’Idomenée di Campra si aveva già conosciuto la maggior parte dei alte. I due ruoli femminili furono interpretati follia di Elettra, che è stata giustamente conclude con la follia di Idomeneo (basso) cantanti e musicisti a Mannheim, dove aveva dalle cognate Wendling, che avevano lavorato ripristinata in questa registrazione. che, dopo aver ucciso il figlio Idamante, tenta trascorso felicemente quattro mesi e mezzo al con Mozart a Mannheim: Dorothea (Ilia) ed L’opera, oggi considerata il primo il suicidio, ma viene fermato dalla sua scorta. teatro di corte. Nella capitale palatina le arti Elisabeth (Elettra). Il ruolo di Idamante fu capolavoro teatrale di Mozart, rimase William Christie, direttore di musica barocca, fiorivano. Sotto la benevola influenza destinato a un castrato (e in seguito riscritto dimenticata per molti anni. All’epoca Mozart l’ha riproposta di recente, rivelando una dell’illuminato direttore teatrale Carl Theodor dal compositore per tenore per Vienna) e fu sperava che venisse eseguita ancora altrove, ma Tragédie lyrique magistrale nel suo genere, che la musica era al centro dell’attenzione a interpretato da un cantante relativamente Vienna la richiese solo cinque anni dopo la probabilmente influenzò Mozart. Mannheim. Si diceva ai tempi: “Sarebbe inesperto, Vincenzo dal Prato, che Mozart prima, e anche allora si trattò di un’unica

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esecuzione in concerto, affidata ad alcuni spesso eseguita ai festival. Questo potrebbe tenore aveva un modo di pensare molto solidale e ha un riflessivo recitativo con dilettanti a palazzo Auersperg. Come già essere in qualche modo legato alla natura conservatore. Mozart paragonò Dal Prato accompagnamento in un momento centrale menzionato, Idamante divenne un tenore e di statica della vicenda e allo scarso richiamo (Idamante) a un giovane corista, sempre dell’opera. conseguenza i concertati vennero modificati. popolare di un’opera seria come questa. In un pronto a sbagliare dal punto vocale e Il protagonista della vicenda è il re da cui Al personaggio venne inoltre assegnata una certo senso dovrebbe essere un brano per drammatico. l’opera prende il titolo. Dopo il sollievo per nuova, lunga aria con violino obbligato (che occasioni speciali per la sua grandezza dal Il concetto di Mozart va ben oltre i piaceri e essere scampato alla tempesta e a Nettuno, il non è stata naturalmente inclusa qui) e un punto di vista della proiezione di emozioni le bizzarrie del suo primo cast. Da ogni punto suo spirito viene tormentato dall’incontro con duetto più breve e musicalmente diverso con pure in una musica di profondità e di vista, la scrittura è nuovissima, con una il figlio sulla spiaggia. Quasi fino alla fine non Ilia nell’Atto III. incomparabile bellezza, anche per la sua struttura importante e di largo respiro ed riesce a decidersi a mantenere l’impegno di All’inizio del Ventesimo secolo l’opera venne ripercussione sull’orchestrazione. In un esplora profondità psicologiche inaudite nella sacrificare il figlio per rispettare la sua riproposta nei paesi di lingua tedesca, ma importante saggio pubblicato da The Musical maggior parte dei suoi predecessori, fatta avventata promessa. La sua musica illustra spesso in poveri adattamenti firmati da Times l’eminente studioso mozartiano Daniel eccezione possibilmente per le cose migliori di visivamente l’agonia interna dell’uomo. Un Richard Strauss e Bernard Paumgartner. Per il Heartz ha scritto: “Impegnandosi a ricreare il Monteverdi e Gluck. Mozart trova la musica tenore intelligente come Bruce Ford riesce a giusto riconoscimento e l’apprezzamento dramma attraverso la sua arte, Mozart giusta per i sentimenti di ciascun personaggio creare una figura allo stesso tempo universale bisognava attendere il 1951 e il compose la sua musica più personale e nel momento giusto. L’emarginata Elettra profondamente turbata e vulnerabile, ma famoso allestimento di Glyndebourne, in gran appassionata.” viene descritta come tale, ma è del tutto anche nobile. parte grazie all’ispirazione del direttore L’aria principale di Ilia, “Se il padre perdei” integrata nella tessitura musicale o Ma c’è ancora dell’altro che si aggiunge alla d’orchestra Fritz Busch e del regista Carl (“My father was taken”, CD2, traccia 18 ) drammatica. Ilia si sviluppa nel corso straordinaria novità della partitura e si ritrova Ebert, che affidarono il ruolo di Idamante a nell’Atto II è un lungo, sensuale sfogo della dell’opera, trasformandosi da fanciulla nei concertati. Mai prima d’allora nell’opera un tenore e riunirono le due edizioni. Più di massima bellezza per un soprano lirico, in cui abbandonata e infelice in una donna quasi brani altrettanto vasti che illustrano i recente (2003) l’opera è stata diretta nello gli archi supportano meravigliosi assolo dei eroica, disposta a sacrificare la propria vita per sentimenti vari dei partecipanti sono stati stesso teatro da Simon Rattle, che ha incluso legni. Per forza Dorothea Wendling si dichiarò il suo innamorato Idamante: il prolungato espressi così lungamente e infallibilmente. ogni battuta composta da Mozart per Monaco “arcicontentissima”. episodio della preparazione del giovane al Intendo parlare in particolare del trio “Pria di – decisione discutibile in quanto la durata Elisabeth fu altrettanto soddisfatta della sacrificio e il tempestivo intervento di lei non partir” (“If I must leave”, CD2, traccia 4 ) risulta prolungata quasi a livelli wagneriani. musica composta per Elettra, ed è naturale, manca mai di commuovere in un buon dell’Atto II e dell’eloquente quartetto “Andrò L’opera ha gradualmente guadagnato data la varietà di stati d’animo in cui manifesta allestimento. Idamante si trasforma da ragazzo ramingo e sol” (“Alone the earth I wander”, rispetto anche in molti altri teatri, sebbene i suoi sentimenti contraddittori. I cantanti in uomo attraverso una serie di arie e duetti. CD2, traccia 13 ) dell’Atto III. In ciascuno i ancora oggi il suo posto nel normale repertorio principali diedero più da pensare. Come già Nonostante venga privato delle sue arie o forse personaggi percorrono la loro via in maniera non sia interamente assicurato: viene più accennato, l’età di Raaff fu un problema e il proprio per questo Arbace è un consigliere indipendente, ma creano un’unità coerente e

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preannunciano le meraviglie analoghe delle stimolare l’orecchio e commuovere, 12 – 13 Idomeneo è scampato alla tempesta COMPACT DISC TWO opere di da Ponte. culminando nella grande tenerezza delle dopo aver giurato a Nettuto che sacrificherà il Poi ci sono i magnifici cori, in cui la purissime emozioni dell’Atto III. primo essere vivente che incontrerà all’approdo 1 – 4 Prima che la nave possa salpare, si popolazione confusa esprime le sue emozioni in patria. 14 – 15 Incontra Idamante, in cerca scatena una violenta tempesta. 5 Convinti contrastanti. Il più originale è quello alla fine © 2004 Alan Blyth del corpo di suo padre tra i resti del naufragio, che si tratti di un’altra punizione di Nettuno, i dell’Atto II “Corriamo, corriamo” (“Disaster! ma padre e figlio non si riconoscono. Idomeneo Cretesi chiedono di sapere chi ha suscitato la Run faster to flee such a horror”, CD2, La trama sa solo che, per rispettare la sua promessa, sua ira. 6 – 7 Idomeneo ammette che è lui il traccia 7 ) con la disperata reazione alla quest’uomo deve essere il promesso sacrificio. colpevole e sfida Nettuno, sostenendo che deve confessione di Idomeneo. Non si arriva a una COMPACT DISC ONE Quando alla fine entrambe le identità vengono essere lui a morire. Dalla tempesta emerge una vera cadenza, lasciando il pubblico preoccupato rivelate Idomeneo, disperato, allontana da sé il creatura mostruosa. quanto i partecipanti – un colpo da maestro. 1 Ouverture figlio, lasciandolo sbigottito e infelice. Poi l’intervento del Gran Sacerdote e di 16 I Cretesi festeggiano il ritorno della flotta. Atto III Nettuno, quest’ultimo in qualità di deus ex Atto I 8 – 10 Idamante ha deciso che l’unico modo machina nell’Atto III, sono notevoli e originali 2 – 3 Ilia, figlia dello sconfitto re Priamo di Atto II per fermare il mostro sia quello di affrontarlo e e Mozart introduce i tromboni per la prima Troia, è stata condotta con gli altri prigionieri 17 Idomeneo rivela ad Arbace la sua promessa distruggerlo. Temendo per la sua vita, Ilia gli volta nel secondo. L’ascoltatore viene a Creta. È combattuta tra l’odio per il nemico a Nettuno e Arbace gli consiglia di inviare confessa il proprio amore 11 e i due si costantemente stimolato da suoni e idee nuovi. cretese e il suo amore nascente per Idamante, Idamante ed Elettra nella patria di lei, Argo. riuniscono in un duetto. 12 – 13 Arrivano In termini puramente musicali, l’invenzione figlio dell’assente Idomeneo, ma teme che il Quando Idamante sarà lontano si potrà trovare Idomeneo ed Elettra e il re ordina al figlio di strumentale è intelligente come ci si attende da giovane sia innamorato di Elettra, figlia di un altro modo di placare l’ira di Nettuno. partire immediatamente da Creta, senza però Mozart. L’audacia armonica è indispensabile Agamennone, che vive a Creta in esilio. 18 Ilia va a ringraziare Idomeneo per la rivelargli il motivo della sua apparente nel descrivere l’asprezza del dramma e i 4 – 7 Idamante concede la libertà a Ilia e ai riacquistata liberà e gli chiede di prendere il crudeltà. rapporti chiave sembrano organizzati per fare prigionieri e confessa il suo amore per lei, ma posto del proprio padre morto. 19 – 20 Il re si 14 Arbace lamenta la sorte dell’isola: gli dei spazio allo sviluppo della storia. Persino la la donna gli tace i propri sentimenti. 8 Arriva rende conto che Idamante e Ilia sono hanno abbandonato Creta. 15 – 17 Il sommo costruzione del recitativo è più varia e notevole Arbace con la notizia che Idomeneo è morto innamorati e pensa che la causa dell’ira di sacerdote descrive la distruzione: il sangue dell’opera seria precedente. in una tempesta in mare. 9 Elettra, che aveva Nettuno sia Idamante perché ama Ilia e ha scorre nelle strade, piene di cadaveri e feriti. Un’opera tanto complessa ma immediata ha sperato che al suo ritorno il re avesse scelto liberato i prigionieri troiani. Alla fine Idomeneo ammette che è suo figlio sempre nuove cose da rivelare a un ascoltatore lei come sposa per Idamante, è disperata, 21 – 22 Elettra è felice di lasciare Creta e Idamante che deve essere sacrificato. attento. In tutti i casi della mia lunga 10 – 11 specialmente vedendo l’amore di spera che, una volta separato da Ilia, Idamante 18 La preparazione del sacrificio è interrotta esperienza dell’opera non manca mai di Idamante per Ilia. sarà più disposto ad accettare il suo amore. da alcune grida di gioia: Idamante ha sconfitto

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il mostro. 19 Certo che questo inasprirà riproposto proprio per lui delle opere meno registrazioni di opere dimenticate di Mayr, Susan Patterson, che l’ha interpretata con ancora l’ira di Nettuno, Idomeneo sa di note, per esempio la Royal Opera (Otello di Donizetti, Pacini e Rossini per Opera rara, numerose compagnie, tra cui San Francisco non poter più impedire la morte del figlio. Rossini) e i festival di Glyndebourne (Ermione) molto apprezzate dalla critica. Le splendide Opera, New York City Opera, Lyric Opera di 20 Idamante accetta di morire per mantenere e Pesaro (Zelmira, Otello di Rossini). È interpretazioni del Mitridate di Mozart Chicago, Palm Beach Opera, Michigan Opera la promessa del padre. Idomeneo sta per comparso alla Scala e nei teatri lirici di Napoli, (Royal Opera) e Oreste in Ermione Theatre, Opera di Baltimora, Vancouver e sacrificarlo quando Ilia chiede di essere uccisa Firenze e Bologna ed è intervenuto al Maggio (Glyndebourne) sono disponibili su Montreal. Nel ruolo di Violetta ha esordito in al suo posto. 21 A questo punto si sente la Musicale Fiorentino e al festival di Salisburgo. video/DVD. Dopo quasi vent’anni di carriera Europa con la Welsh National Opera diretta voce di Nettuno: l’amore ha vinto, Idomeneo Il suo esordio è legato al ruolo del conte di teatrale, il suo repertorio continua ad da sir Charles Mackerras. Altri ruoli deve abdicare a favore del figlio Idamante e Almaviva nel Barbiere di Siviglia – quello da ampliarsi; le ultime aggiunte sono i ruoli di comprendono Manon Lescaut (Spoleto Festival sposare Ilia. 22 – 23 Elettra impreca mentre le lui più spesso interpretato in seguito – alla protagonista di due opere mozartiane, Opera USA); Falstaff (Atlanta Opera); Ernani sue speranze svaniscono. 24 – 25 Idomeneo Royal Opera, Metropolitan Opera e nei teatri La clemenza di Tito e Idomeneo. (Reisopera, Paesi Bassi); Fiordiligi e Constanze, presenta Idamante e Ilia al popolo. lirici di Los Angeles e Dallas. Per la serie Opera in English di Chandos ha Donna Anna, Donna Elvira (Mozart), Anne L’attività concertistica di Bruce Ford lo ha registrato due dischi di Grandi Arie Trulove, Marguerite (Faust) (San Francisco © 2004 visto comparire alla Scala, al festival di Operistiche e un disco di Arie da Operetta. Opera), Rosalinde (Die Fledermaus), Musetta e Traduzione: Emanuela Guastella Edimburgo, al Carnegie Hall e al Gilda. In Europa, Susan Patterson è comparsa Concertgebouw di Amsterdam, e i suoi recital Susan Patterson ha conquistato una grande alla Scala (Lodoïska di Cherubini per la Il tenore americano Bruce Ford è considerato sono molto richiesti. Ha lavorato, tra l’altro, reputazione come soprano lirico spinto con direzione di Riccardo Muti), all’Opera dei uno dei più importanti cantanti di oggi ed è con Claudio Abbado, Riccardo Muti, sir interpretazioni di grande successo con English Paesi Bassi (Le Comte Ory e Mitridate), ad particolarmente apprezzato per la sua voce Charles Mackerras, Richard Bonynge, sir National Opera (Rusalka di Dvorˇák, Violetta, Aix-en-Provence (Constanze), all’Opera di straordinaria, la sua vivacità, il suo stile sicuro Roger Norrington, sir Colin Davis e David Marguerite ed Elena nel Mefistofele di Boito), Colonia e all’Opéra Comique (L’occasione fa il e la sua perizia tecnica, oltre che per la sua Parry. la Washington Opera (Tosca), l’Opera di ladro). La discografia comprende Carolina recitazione espressiva. È regolarmente ospite Bruce Ford ha registrato gran parte del suo Baltimora (Mimì e Aida), l’Opera Company di (Il matrimonio segreto) e Elvira (Ernani) per dei più importanti teatri del Nordamerica e repertorio e la sua discografia include la Philadelphia (Violetta, Donna Anna, e le Chandos. dell’Europa ed è specializzato nelle opere più versione originale della Lucia di Lammermoor quattro eroine dei Contes d’Hoffmann). Ha Susan Patterson svolge regolari concerti, difficili del repertorio mozartiano e del diretta da sir Charles Mackerras, tre recital esordito alla Metropolitan Opera nel 1998, nel presentando un repertorio che comprende belcanto. Da oltre dieci anni svolge un ruolo operistici da solista (Romantic Heroes e ruolo della cantante italiana in Capriccio di opere di Handel, Beethoven, Mendelssohn, significativo nella rivalutazione di molte opere Serious Rossini per Opera Rara e Great Strauss. Rossini, Poulenc, Szymanowski e Mahler. Ha del belcanto, attraverso registrazioni e Operatic Arias per Chandos/Peter Moores La traviata ha rivestito un ruolo interpretato anche il Requiem di Verdi con rappresentazioni dal vivo. Molti teatri hanno Foundation). Inoltre ha partecipato a diverse particolarmente importante nella carriera di l’Opera di Washington sotto la direzione di

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Plácido Domingo in occasione del centenario Symphony Orchestra diretta da Michael Il suo repertorio include i principali ruoli salienti), Faust, e due dischi di Great Operatic della morte del compositore. Tilson Thomas, il Requiem di Brahms con la per mezzosoprano composti da Mozart, Gluck, Arias (CHAN 3010 e 3093). Boston Symphony Orchestra diretta da Jeffrey Strauss, Rossini, Bellini e Berlioz. Nel corso Rebecca Evans è nata in Galles e ha studiato Tate, e Faust Szenen di Schumann e il Requiem della sua ricca attività concertistica ha lavorato Nicolai Gedda è uno dei più grandi artisti del presso la Guildhall School of Music and di Brahms al festival di Ravinia. È intervenuta con Georg Solti, James Levine, Riccardo Muti, nostro tempo ed è apprezzato per la sua Drama. Ha già un’importante carriera lirica anche al Melbourna International Festival John Eliot Gardiner, Seiji Ozawa, Jeffrey Tate padronanza di un repertorio che abbraccia in America dove ha interpretato Susanna australiano e ha svolto una tournée di concerti e Andrew Davis. I suoi impegni hanno quasi tutti gli stili e le epoche nel campo (Le nozze di Figaro) per l’Opera di Santa Fe; con l’Australian Chamber Orchestra. compreso Iphigénie en Tauride a Buenos Aires, dell’opera, dell’oratorio, dell’operetta, del lied e Adele (Die Fledermaus) per la Lyric Opera di Rebecca Evans è stata protagonista di recital Madrid e con la Welsh National Opera; delle composizioni per orchestra. Chicago; Zerlina (Don Giovanni), Anne in sale come la Wigmore Hall di Londra e ha Le Comte Ory a Losanna, Roma e Nato a Stoccolma da padre russo e madre Trulove (The Rake’s Progress) e Adina (L’elisir partecipato ai festival di Barcellona, Ravinia, Glyndebourne; Andromaca nell’Ermione di svedese, ha esordito come professionista alla d’amore) per l’Opera di San Francisco; Susanna Buxton e Belfast. La sua discografia include Rossini a Glyndebourne; Proserpina nell’Orfeo Royal Opera di Stoccolma nel 1952 con Le e Zerlina per la Metropolitan Opera di New Le nozze di Figaro, The Pirates of Penzance, di Monteverdi ad Amsterdam; Il ritorno Postillon de Longjumeau. Tra il pubblico si York. In Europa i suoi ruoli comprendono HMS Pinafore e Trial by Jury, dirette da sir d’Ulisse in patria ad Amsterdam e Sydney; i trovava Herbert von Karajan, che lo ingaggiò Sophie (Der Rosenkavalier), Zdenka (Arabella), Charles Mackerras; per Chandos Nannetta ruoli di Sesto a Madrid; il Compositore immediatamente per la registrazione della Servilia (La clemenza di Tito), Ilia (Idomeneo) (Falstaff ), Hugh the Drover, una registrazione (Ariadne auf Naxos) per Scottish Opera e a Messa in si minore di Bach. Nel 1953 Nicolai e, di recente, Nanetta (Falstaff ) per la di brani solistici italiani, il Requiem di Delius, Lisbona; Meg Page (Falstaff ) per la riapertura Gedda esordiva alla Scala di Milano, nel 1954 Bayerische Staatsoper; Ilia per l’Opéra de e Dies natalis di Finzi. della Royal Opera House, Covent Garden; all’Opéra di Parigi e nel 1957 con il Lausanne; il ruolo di protagonista ne La volpe Ottavio (Der Rosenkavalier) a Napoli, Bilbao e Metropolitan (nel ruolo di protagonista del astuta per la Scottish Opera; Susanna, Ilia, Diana Montague è nata a Winchester e ha al Teatro Real di Madrid; Marguerite a Faust di Gounod). Ha esordito con la Royal Marzelline (Fidelio), Norina (Don Pasquale) e studiato presso il Royal Northern College of Vienna. Opera nel 1965 (con il duca di Mantova nel Hero (Beatrice and Benedict) per la Welsh Music. Dopo il suo esordio nel ruolo di La ricca discografia di Diana Montague Rigoletto di Verdi) e vi ha fatto ritorno per National Opera; Romilda (Xerxes) per la Zerlina con la Glyndebourne Touring Opera si comprende Orfeo di Monteverdi, I Capuleti e i cantare Benvenuto Cellini, Alfredo, Gustavo English National Opera; Zerlina e Nanetta alla è esibita in teatri quali la Royal Opera House, Montecchi, Norma, Lucia di Lammermoor, III in Un ballo in maschera, Nemorino e Royal Opera House, Covent Garden. Covent Garden, la Metropolitan Opera di Iphigénie en Tauride; per Opera Rara Lenski. Ha creato ruoli di protagonista in La sua attività concertistica l’ha vista New York, il Théâtre de la Monnaie di Rosmonda d’Inghilterra, Zoraida di Granata e Il Vanessa di Barber e The Last Savage di Menotti intervenire ai Prom della BBC e al Festival Bruxelles, l’Opéra National de Paris-Bastille, il crociato in Egitto e per la serie Opera in al Metropolitan. Internazionale di Edimburgo. Ha interpretato Teatro Colón di Buenos Aires e ha partecipato English di Chandos Cavalleria rusticana, I suoi trionfi operistici vanno dalle opere di il Magnificat di Bach con la San Francisco ai festival di Bayreuth e Salisburgo. Ottavio in Der Rosenkavalier (momenti Haydn e Mozart a Stravinskij, Orff, Barber e

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Menotti, mentre in recital viene considerato (Welsh National Opera); Arbace (Idomeneo) personificazioni del cattivo genio (The Tales of anni, Opera North si è proposta tra le uno straordinario interprete di lieder. Inoltre è per la Metropolitan Opera e a Garsington; Hoffmann), Collatinus (The Rape of Lucretia), principali organizzazioni artistiche inglesi, uno dei tenori con la discografia più ricca del Le Duc (Chérubin) per la Royal Opera e a Hunding (The Valkyrie), e Narbal (The dimostrandosi una delle più creative mondo. Il 2002 ha segnato il cinquantesimo Monte Carlo; Aumonier (Dialogues des Trojans) per English National Opera. È compagnie d’Europa. L’approfondimento anniversario della sua prima registrazione e Carmélites) per l’Opera dei Paesi Bassi; comparso inoltre con la Glyndebourne Festival dinamico del concetto di opera come forma oggi l’artista ha al suo attivo 200 titoli Monostato (Die Zauberflöte) a Santa Fe; Opera e Glyndebourne Touring Opera. d’arte ha visto la compagnia infondere nuova discografici, comprendenti versioni integrali Basilio (Le nozze di Figaro) per l’Opera di All’estero Clive Bayley è comparso nei teatri vita al repertorio più classico, ma senza delle opere Guillaume Tell, La Bohème, Faust, Nizza, la New Israeli Opera, la Lyric Opera di lirici dei Paesi Bassi, Seattle, Lisbona, Losanna, dimenticare le opere meno note e il teatro Werther, Manon, Così fan tutte e Benvenuto Chicago, la English National Opera e Tolosa, Monaco e in concerto con Les Arts musicale. L’apprezzato Coro e la versatile Cellini. Glyndebourne; Dr. Cajus (Falstaff ) in Israele; Florissants e William Christie. Orchestra si esibiscono anche in maniera Horace Adams (Peter Grimes) a Firenze, con Clive Bayley ha molti impegni concertistici indipendente, rinnovando costantemente il Il gallese Ryland Davies ha studiato presso il English National Opera e al festival i cui momenti salienti comprendono Candide loro approccio nei confronti dell’esecuzione Royal Manchester College of Music di cui giapponese di Saito Kinen; Albazar (Il turco in di Leonard Bernstein con la London musicale. Le registrazioni per Chandos veniva nominato Fellow nel 1971. I suoi Italia), Gaudenzio nella Bohème di Leoncavallo Symphony Orchestra, The Bear di Walton con includono Troilus and Cressida di Walton e, numerosi ruoli con la Glyndebourne Festival e Dr Cajus (Falstaff ) e War and Peace per la Northern Sinfonia, e Don Fernando in per la serie Opera in English, momenti salienti Opera comprendono Belmonte (Die English National Opera. alcune rappresentazioni in concerto del Fidelio del Boris Godunov di Musorgskij. Entführung aus dem Serail), Ferrando (Così fan con la City of Birmingham Symphony tutte), Tamino (Die Zauberflöte), Lenski Clive Bayley canta regolarmente con le Orchestra diretta da Walter Weller. Le sue David Parry ha studiato con Sergiu (Eugenio Onieghin) e Flamand (Capriccio). Ha principali compagnie liriche in un repertorio registrazioni nella serie Opera in English Celibidache ed ha cominciato la sua carriera esordito in teatro con la Welsh National Opera che va da Monteverdi a Verdi, Puccini, Berg, comprendono il bonzo in Madam Butterfly, come assistente di Sir John Pritchard. Ha nel 1964 nel ruolo del conte Almaviva Britten e Birtwistle. Ha esordito con la Royal Ferrando nel Trovatore, il Commendatore nel debuttato all’English Music Theatre, quindi è (Il barbiere di Siviglia). L’esordio al Covent Opera, Covent Garden, nella prima del Don Giovanni, Pistola in Falstaff e Timur in diventato direttore d’orchestra presso la Garden risale 1969 ed è stato seguito da Gawain di Harrison Birtwistle e in seguito ha Turandot. Städtische Bühnen di Dortmund e la Opera numerosi ruoli tra cui Don Ottavio (Don vestito i panni di Colline (La bohème), Hans North. È stato Direttore Musicale di Opera 80 Giovanni), Ernesto (Don Pasquale), Fenton Foltz (Die Meistersinger) e Castro (La fanciulla Opera North è la compagnia operistica dal 1983 al 1987 e dal 1992 è stato Direttore (Falstaff ) e Lysander (A Midsummer Night’s del West). Altri ruoli comprendono Sparafucile nazionale dell’Inghilterra del nord ed è Musicale fondatore dell’Opera di Almeida. Dream). (Rigoletto), Raleigh (Gloriana), e il impegnata a produrre lavori di alta qualità per Lavora copiosamente in opere e concerti, a Altri impegni hanno compreso Turandot protagonista ne Le nozze di Figaro per Opera informare, entusiasmare, stimolare e livello nazionale ed internazionale. Ha diretto (Opera di Ginevra); La finta giardiniera North; Cadmus (Semele), le quattro intrattenere. Nell’arco di oltre ventiquattro diverse produzioni presso la English National

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Opera e la Opera North e appare regolarmente Il suo lavoro in studio di registrazione con la Philharmonia Orchestra e la London comprende la produzione della BBC di

Philharmonic Orchestra. Nel 1996 ha Der Vampyr di Marschner nonché ventotto Barda Clive debuttato con Così fan tutte al Glyndebourne registrazioni operistiche complete con il Festival, dove nel 1998 ha diretto la prima patrocinio della Peter Moores Foundation. Tra mondiale di Flight di Jonathan Dove. questi vi sono numerosi dischi per l’etichetta È un frequente visitatore della Spagna dove Opera Rara che hanno vinti parecchi premi, si è esibito in concerto con la maggior parte tra cui il belga Prix Cecilia per la Rosmonda delle maggiori orchestre spagnole. Ha diretto d’Inghilterra di Donizetti. Per Chandos ha la prima spagnola di Peter Grimes a Madrid e diretto una serie di registrazioni di arie d’opera nel 1996 la prima produzione spagnola di (con Bruce Ford, Diana Montague, Dennis The Rake’s Progress. È apparso in Germania, O’Neill, Alastair Miles, Yvonne Kenny, John Svizzera, Paesi Bassi, al Festival di Pesaro in Tomlinson, Della Jones, Alan Opie e Andrew Italia, al Festival Internazionale di Hong Kong, Shore), nonché The Thieving Magpie, Carmen, in Giappone con una tournée della Carmen e Don Giovanni, Don Pasquale, L’elisir d’amore, in Messico con la UNAM Symphony Lucia di Lammermoor, Ernani, Il trovatore, Orchestra. Recenti nuove produzioni da lui Aida, Faust, Cavalleria rusticana, Pagliacci, dirette comprendono il Fidelio al Festival della La bohème, Turandot, Tosca (vincitrice di un Nuova Zelanda, Lucia di Lammermoor alla premio) e brani scelti da Der Rosenkavalier, New Israeli Opera e Don Giovanni alla tutte in collaborazione con la Peter Moores Staatsoper di Hannover. Foundation.

On session: Rebecca Evans

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On session: Clive Bayley with the brass section of the Orchestra of Opera North On session: Ryland Davies

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COMPACT DISC ONE Grant me oblivion! Scene 2 Ilia What am I saying… What you have told me would best have Recitative 1 Overture Idamante love me?… remained unsaid! Idamante (to his followers) Ah no! Be careful: think, Idamante, just think of your Go, assemble the Trojans, quickly, and prepare Act One The wretch sighs and pants for Electra, and it is father and of mine, of all that happened. the whole city to celebrate peace. she, the piteous Electra, exiled from Argos, who Scene 1 (to Ilia) fled here to escape the calamities that befell her No. 2 A ray of hope shines through the cloud of pain. brother Orestes, Recitative Minerva, the protector of our nation, has Aria she who is my rival. Ilia snatched my beloved father from the tempest: Idamante 2 How many ruthless passions prey on me like When will the gods release me from my his fleet has been sighted not far from the shore. 5 I am guiltless and yet you blame me, unending torment! I am so wretched! butchers?… my adored one, because I love you. The mis’rable survivor of a tempest, beloved Tear out my heart, then cruel vengeance, jealous Ilia (ironically) For their sport the gods inflame me: father and brothers stolen from me, the fury, hatred, love too human… Never fear: Minerva gazes fondly down upon Here in anguish and pain I suffer, poisonous blood of our enemies mixed with the Tear out my heart… you, while we poor Trojans must suffer the fury I suffer for what I cannot control. blood of those noble victims… Yet the gods Tear out the heart from this tormented of the gods. Straightaway if you demand it, mean to taunt me with a fate even harsher? woman! I would end a life so painful: Did not those gods grant vengeance to Priam Idamante You shall grieve for the Trojans’ fate no longer. I can see your eyes command it, and to Troy for their shame and suff’ring? No. 1 Aria but if once the words are uttered, 3 Hear me, noble princess: their sufferings shall The enemy fleet has perished, and Idomeneo Father, my brothers, forgive me! I shall answer to their call. surely perished as well, deep in the ocean… I watched them, watched them destroy you. cease, for I grant them freedom; and from But that means nothing, oh heav’n, if at the first Never was war so cruel: henceforth the only pris’ner here shall be a man Recitative sight of that bold Idamante, who saved me from to love him would be a crime. whom your beauty has bound in chains of Ilia the waves, hatred could vanish and my heart be I know that I should hate him, passion. 6 Here are the few wretched Trojan victims who escaped death from your butchers… enslaved before I realised that I must be a know that it is my duty; Ilia pris’ner. but when I gaze upon him What are you saying? Idamante Raging within me a battle between two feelings my hatred melts away. And I will set them free: that cannot be resolved, hatred and love… Idamante they shall suffer no longer. A debt of vengeance to him who gave me life Recitative The goddess Venus, not content with 4 and of thanks to the man who saved me from Ah! He is coming: Idamante is here! My heart Agamemnon’s fall, has seen fit to punish me Scene 3 death… is pounding and racing in its torment… Will through your beauty, through your deep Oh Ilia! Oh Idamante! Oh father? What anguish! my anguish not cease for one single haunting eyes… But you are angry and Idamante How can I go on living? moment? embarrassed by my love?… Unloose the pris’ners’ chains and let the world

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rejoice on this day to see our two glorious You, princess, and the nation must prepare to struggle, his downfall, have filled me with pity: Scene 7 peoples united and reconciled at last in the perform a worthier action: to show the enemy I can only bemoan a fate so painful. No. 5 sacred bond of friendship. mercy. (She leaves.) Here is Arbace… Chorus 11 Relent! No. 3 Chorus Scene 6 Scene V Heaven, relent! Chorus of Trojans and Cretans Electra Look down on us, we beg you, 7 The war is over: may love and reason, Idamante 9 The King dies… and I am friendless! and help us to our rescue… draw out hatred’s poison and bring new joy. He seems weighed down by sorrow. It seems that heaven gloats to see me brought low. The storm’s unending horror Two Cretans Arbace Shall Idamante do just as he wishes with his fills every heart with terror… Praise to the warrior who ends the fighting Noble Lord, the very worst has happened… empire, with his heart, while I am left with Through fate’s unseeing anger the world uniting in peace today. nothing to hope for? we face a mortal danger… Idamante Must I be forced to witness, must Greece, Relent! Relent! Relent! Chorus So my father is dead? covered in shame, be forced to witness the sight The war is over: may love and reason, of a vile Trojan slave become his bride and Scene 8 Arbace draw hatred’s poison and bring new joy. consort? Pantomime He is dead. The love I bear the prince has been wasted… Two Trojans What Mars could never do the insatiable Recitative Shall I, the daughter of a king, to whom kings Offer our princess honour and duty: Neptune has achieved: I have just learnt that the Idomeneo pay homage, impotent stand aside and let him 12 her radiant beauty has set us free. greatest of heroes was lost in the tempest and is We have been saved at last. betray me?… How shameful! Such anger… known to have drowned. Chorus Such pain… This will destroy me. Scene 9 The war is over: may love and reason, Idamante Recitative No. 4 Aria draw out hatred’s poison and bring new joy. Ilia, here I stand, the most wretched of men. Idomeneo And heav’n at last deigns to give you Electra My friends my faithful, brave companions in Scene 4 satisfaction… 10 I feel you writhe inside me, suff’ring and in rejoicing, yes faithful both in Fate is so cruel!… Come! To the shore! Alas! Recitative creatures of hell’s foul darkness, defeat and victory, I beg you all to leave me Despair overwhelms me! Electra locked in my bitter madness, alone here for a while, that for a moment the fair 8 Prince, my lord, you insult the Greek nation by (He leaves.) no love, no pity left. skies of my birth may soothe my torment. The protecting the enemy. She who would steal my lover, sea is calm, gentle breezes caress me, soft and Ilia he who rejects me blindly, calming, the sun’s warming rays would soothe Idamante The wrongs done to Troy still feed my both of them shall discover my aching body, and all around me I seem to see It should satisfy us that we have won the battle. resentment… And yet this hero’s death, his my rage, my cruel spite. the world peaceful and happy.

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Yet I, in my innermost being am almost sick I am free here to feel the ceaseless racing of my Idamante I shall follow him now, though he berates me, with fear and apprehension; I alone cannot find tormented heart. How strange the horror of this He was mine! though a still harsher destiny awaits me. the peace I prayed for in the realm of the sea-god. place mirrors my suffering spirit! There amid the Idomeneo My prayer was evil, demented! What I vowed wreckage of the storm I can see someone who No. 7 Aria (You implacable gods!) cold and cruel! Which of you gods prolongs my has survived… Idamante base existence, which of you now will offer me (approaching Idomeneo) Idamante 15 The father I love dearly, assistance? Welcome, friend or foe! You have nothing to You weep like me for my father’s cruel fate? to find him and to lose him! fear: you see before you a man who wishes, and His feelings are clearly No. 6 Aria has the power, to give you aid. Idomeneo Idomeneo My son! revulsion and scorn… 13 The ghost of my victim, Idomeneo (to Idamante) So happy one moment Idamante that tears drown my laughter, sobbing, will haunt me I am in your debt for the rest of my life: what What? Father?… Oh Gods! Could I be and seem to taunt me, paltry reward can I offer you? then heav’n brings me torment dreaming? Joy past believing! too deep to be borne. ‘but I am blameless…’ Father, most beloved of fathers, let me touch Idamante his silent cry. you… let me embrace you… Alas! It is reward enough to know that I have saved End of Act One His bloodless body forever pleading, You seem to scorn me, turn away in disgust! you from harm and helped you: my friend I have will not release me: What is it? What is it? a crime so bloody can never die. suffered so much that I have learnt to pity and Intermezzo understand the sufferings of others. Endless darkness, endless torment! Idomeneo 16 No. 8 March For the weakness of a moment You must not follow: I forbid it. Idomeneo must I suffer living death? It would have been far better if you had not seen No. 9 Chorus Suffered so much? Pray tell me, your me here today. I warn you: Recitative May Neptune be honoured, misfortunes, are they really so great? shun my presence! Idomeneo his name respected Alas already! Here is the wretch whom I must Idamante (He leaves hurriedly.) his fame be reflected, sacrifice to ruthless Neptune as an off’ring in Out there he lies, lifeless in those watery depths, the ocean’s great lord, return for my own wretched life! Treachery! the man whom I loved more than any other, the Idamante in dancing and singing I curse the gods, curse my own weakness! hero Idomeneo. Horror’s icy embrace engulfs me, numbs me. the tale shall be told. But you are sighing and weeping?… You knew For now one moment I see my father… Waves soft and gentle, Scene 10 Idomeneo? He was a father… My expressions of love seem to drive him away… sparkling in sunlight, Idamante What is it? What have I done? take on the mantle of Neptune’s glory; 14 This lonely shore, these cliffs, bleak and Idomeneo How have I earned such a look of disdain, such and in the twilight, forbidding, shall bear witness to my sorrows; Oh Gods! Tell me, whose father was he? threatening words? with their mute story;

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happy and playful, the dolphins gambol: Arbace native land… We must act quickly… Ilia their joys resemble our human joys. And, allied with the wind-god and with Jupiter Find my son and princess Electra and tell them It would be ungracious of me not to believe you. We join in harmony with nature’s company himself, he whipped his realm into frenzy… to prepare to leave at once. to bid the mermaids, the ocean’s handmaids, Keep the matter a secret: I am in your hands and No. 11 Aria Idomeneo echo our voices: I shall trust you, my dear, my faithful Arbace, to Yes, to extort the promise of a human sacrifice. Ilia we would sing praises to gods so gracious save his life and save my peace of mind. 18 My father was taken, who deigned to save us from hells’ dark ploys. Arbace my loved ones, my homeland: May Neptune be honoured, Of whom? (Exit Arbace, enter Ilia.) now you are my father his name respected and on this fair island his fame be reflected, Idomeneo Scene 2 I make my new home. the ocean’s great lord, The first man I would encounter on shore when No more shall I tremble in dancing and singing I had landed. Ilia in torment and suffering: the tale shall be told. If once the great Apollo should appear in Arbace for joy and contentment have come as an offering The trumpets are blaring, splendour over Argos, it would be on this day, And tell me who that poor man was. from heaven above. the priests are preparing: your Highness, the day when your august the god shall have blood. Idomeneo presence returns in living glory to your delighted I fear to tell you… My own son… subjects and dries the tears that, believing you Scene 3 Arbace dead, they wept so freely. Recitative Act II Idomeneo Idamante!… I faint with horror… Idomeneo 19 How should I interpret words so ambiguous and Scene 1 Noble Princess, my thanks; and may the tears Idomeneo disturbing? Why should Ilia, in her situation, which you also weep freely flow no longer, your Idomeneo You advise me Arbace… after so much suff’ring, appear to be so happy?… endless woes be over. 17 We are alone; listen, Arbace, and what I tell you Save my beloved son, I beg you, save him!… No, these feelings which she displays so warmly keep secret. I know you have always been Arbace Ilia for my son, could they perhaps be… a man both faithful and true. Send him away from here to some far off Your kind and noble son set me free, and now alas!… an awakening of love, hope for the future?… Arbace country. But the people must know nothing. my heart is full of gratitude and devotion to Now I see it: their passion is mutual. My prowess in battle destroyed the Trojan The sea-god shall be placated by other means, him, and to his father. Truly, Idamante, you have been too eager to free empire. I know what happened. another god shall help us treaty with him. Idomeneo her from her chains… And with that crime you Idomeneo Idomeneo I and all I own are at your disposal and my only roused the wrath of heaven… Yes, yes, three Swollen with vain glorious pride, I fell into the You are right, he must leave. Ilia is coming, alas… aim shall be to show what honourable friendship victims, the son, the father and Ilia, will be trap that Neptune set for me… He shall go to Argos and escort Electra to her I would give you. sacrificed upon the sea-god’s altar:

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all three must face destruction, one by the swift your reluctance inspires delight. Electra Electra knife, the others by grief’s slow action. I shall spend the hours beside you Be kind and delicate ever, you breezes; Know that my heart is grateful and erase your childish passion; harsh winds and thunderstorms, and, knowing it, permit me to thank you, No. 12 Aria I am certain to persuade you soften your anger: for only gentleness sovereign most kind. when you know my loving heart. shall serve to please us, Idomeneo Idomeneo (to Electra) 20 Saved from storms, the storm within me and all the opulence of sweet romance. No. 14 Marcia Princess, you shall be happy. rages, fiercer and yet more painful. Chorus (to Idamante) And proud Neptune, still so disdainful, Electra Calmly the sea is calling, My son, you must go, claims his vengeance on my pride. There in the distance sweet trumpets sound their gently the waves are swelling. you must make this journey. Angry sea-god, tell me plainly: music, calling me to the quayside, and I must Our voyage will bring good fortune: Respond to our prayers, oh heav’n! if my heart is so near to drowning in fear, hurry. come, come we leave at once. why did you save me when in the tempest I Idamante and Electra almost died? Scene 6 Respond to our prayers, oh heav'n! COMPACT DISC TWO Recitative Scene 4 Electra Scene 5 Idomeneo Hope fills my heart with rapture! Recitative 3 You must set sail, prince. Electra Recitative Idamante Idamante 21 What pleasure could be deeper than mine is? Electra The hour comes! Oh gods! Freedom to return to my homeland with my 1 You shores of Crete, where I have suffered (And my heart is breaking.) beloved, my adored one, always at my side… deeply, where love has been rejected and scorned Idomeneo Farewell! so cruelly, now that a happier fate takes me from Without delay. Leave us, and let us hear tales of Ah, so much joy fills my heart, I feel it bursting! Electra you, I come to bless you and, full of parting’s countless heroic deeds precede your glorious Far away from my rival I shall be able to charm Farewell! him and to entice him, so that he may forget the sweet contentment, at last to bid you farewell return. If you wish to learn the art of ruling, you love that makes him spurn me, and the flame of without resentment. can begin now by offering your aid to all who Idomeneo his passion at last may burn me. suffer: be worthy of yourself and of your father. Farewell! No. 15 Chorus No. 13 Aria No. 16 Trio Idamante and Idomeneo Chorus (O bitter fate!) Electra 2 Calmly the sea is calling, Idamante 22 Dearest creature, that I know you love gently the waves are swelling. 4 If I must leave, I beg you, Idamante another cannot hurt me, Our voyage will bring good fortune: noblest of fathers, let me (My Ilia!) nor the coldness that you show me: come, come, we leave at once. kiss your beloved hand. Oh father! Can I bear it?

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Idomeneo No. 18 Chorus be silent?… Remain… or leave… or stay Ilia (My dear son!) Chorus hidden?… Ah, I cannot decide in my confusion! You shall live… Ilia implores you. 7 Electra Disaster! Run faster to flee such a horror! Idamante Oh heavens! What will come? Disaster! Run faster to perish in terror! Scene 2 Oh heavens! What do I hear? Most beloved of Electra, Idamante and Idomeneo What fate could be harsher, women. No more hesitation! more wretched than that? Recitative For heav’n in its mercy Idamante Ilia will shield us from harm. Act III 10 Noble princess, if I dare to seek you out again, it I am so weak now that I cannot conceal the Scene 1 is not to press my reckless love upon you, but to turmoil deep within me: for love and fear rage as No. 17 Chorus beg for forgiveness, and then to die. one in my soul. Recitative Chorus Ilia Ilia Idamante 5 The storm winds are howling! 8 Here, alone but not lonely, sweet air surrounds me. To die? Why say that? Truly? Perhaps now I only hear what I long for… The sea waves are pounding! Here, amid nature’s shimmering beauty, no Perhaps my mind so sick with love would The gods’ seething anger Idamante longer need I attempt to hide the heartache of deceive me… Is this a false dream to soothe my will spare us no longer A fearful monster is wreaking havoc all around inconsolable passion. How much it costs, so near aching sorrows?… and sweeps us away! us. The time has come to confront the monster, to my lover, to be calm and pretend that I do What fury, what hatred! to try to overcome him, or let death put an end not suffer! Ilia The sea-god is hungry! to all my suff’ring. Ah, it would have been better to have died than A crime was committed No. 19 Aria Ilia to have spoken! Bitter remorse and guilt to make him so angry: Prince, you must banish gloomy thoughts that overwhelm me! Ilia the culprit shall die! could destroy you: remember that you are the The sacred call of duty and honour and country, 9 Heav’nly breezes, soft and gentle, Recitative only hope of a glorious empire. the blood of my kinsmen barely cold yet. Idomeneo see, you fly to my adored one There is so much that serves to reproach my with the message that I love him 6 I am the one, merciless Neptune, the culprit! Idamante unruly passion! What can I do? Now that I see I alone am guilty: I should be punished; now and ever, in joy and pain. Ilia, without your love, without you at my side, you rush into mortal danger, on my head alone vent your anger. And earth’s flowers, the fruits of nature empire means nothing. now I alone can stop you, Let my death slake your thirst for blood. that my bitter tears have watered, finally I have to tell you: bear the secret that love so tender Ilia But if for my transgression you claim another What shall I say? You must preserve your life! I love you, adore you; victim, one who is guiltless, I cannot let you; in this life shall not come again. and, if you mean to perish, and if still you demand it… Recitative Idamante first I shall die of grief, that is not justice and you may not command it. He is coming here… Oh heavens!… To speak or I embrace the cruel destiny that awaits me… I whom you cherish.

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No. 20a Duet Ilia (to Idamante) Electra Ilia and Idamante (to Idomeneo) Idamante They have found us together. I comfort you? Why should I? Your cruelty will haunt me. 11 At the moment such words were uttered Idamante (to Ilia) Idamante Idomeneo I would die, if men could die of love, There is no need to fear them. So you send me away? Oh father! Oh Ilia! Where My anger is bursting: if a heart could burst with joy, shall I go? I would die, I would die. Electra Ilia, Idamante and Idomeneo Ilia (Ungrateful wretch!) Ilia My aching heart is bursting: No more grief, no lonely weeping: I shall come: we will live or die together. such grief is too severe. Idomeneo I am yours, forever faithful; Electra you are my night and my day. (So I had guessed the truth. Idamante What could be harsher?) Live here in peace. Farewell, beloved, forever. Such grief is too severe. Idamante You shall be… Idamante Ilia, Electra, Idamante and Idomeneo No. 21 Quartet My lord – for I no longer dare call you father – Pain worse than dying: Ilia so great a sorrow, I beg of you to grant your most unhappy subject Idamante …what you command me… such fear and horror, this one favour. 13 Alone the earth I wander, Idamante laden with sighing, waiting for death to take me: …be my wife… Idomeneo no man can bear. I shall rejoice to die. Ilia Ask it. Idamante …my loving husband shall be you… Ilia Idamante Alone the earth I wander, in grief and joy. We shall not be torn asunder Tell me what my offence is. Why do you shun waiting for death to take me: I shall go with you and when you are dying, Idamante and Ilia me?… Hate me, nay, abhor me? Am I perhaps I shall rejoice to die. I too will die. …in grief and joy. the cause of Neptune’s anger? But then, what Ilia One short hour of smiling rapture have I done? wipes away the tears of sorrow: Idamante No, we shall never be torn asunder: Ah no… passion rules this blessed day. Idomeneo I shall go with you when you are dying, I too will die. Passion conquers this blessed day. Neptune might be placated it you were not here Idomeneo at my side. Listen, you shall obey me. The God would taunt me. Scene 3 Idamante You have been exiled: you are not welcome. Kill me, I beg you, kill me! Ah no… Recitative Idomeneo Ilia (to Electra) Electra Idomeneo 12 (What do I see here?) Alas! I beg you, comfort me, noble princess. (Vengeance shall be my cry!) The God would taunt me.

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Scene 5 You alone hold the key to our salvation: Scene 7 Scene 8 alone, you have the power to snatch us from Recitative 17 No. 25 March Arbace death’s agony. Your people live in terror: they cry Arbace 19 Highness, our hero, the prince Idamante, 14 out for you to help them, and still you wait. To Most unfortunate land! At every corner a No. 26 Cavatina with Chorus seeking the death that despair made him long haunting vision of death, of senseless carnage! the temple, highness, to the temple! Who is it for, has found triumph instead. Enraged, he Ah, this cannot be my homeland, this gloomy who must be sacrificed? You must render up the Idomeneo threw himself upon the monster, overcame it 18 realm of weeping, this cruel, this ugly kingdom gods’ chosen victim. Oh mighty ocean god, we beg you hear us: and killed it. We have been saved at last. of pain. Has the last shred of pity been banished temper your righteous anger, your holy law. Idomeneo Idomeneo form the heav’ns? Alas! But I must hope still: No more! High priest of Neptune and my Priest Alas! Proud Neptune will rise again in fury to one of the gods will surely relent before such people, you shall hear me: the victim is Oh mighty ocean god, we beg you hear us: vent his wrath upon us… My dear Arbace, soon bloodshed; and surely that god will convince all Idamante… and may it please you, cruel gods, temper your righteous anger, your holy law. you will weep to see that Idamante has found the rest… Even their harshness will respect that you can see me, a father, kill the son he what he sought, that death will triumph over mercy’s call… loves do deeply. Idomeneo him at the end. But yet I see no god who will show us pity… Send again the gentle breezes, All deaf to our pleading! No. 24 Chorus that they may cheer us; Arbace Ah, Crete unfolds before me, a ruined desert Oh heavens, I see him… Chorus bid the fury of the storm with no trace of its glory! Yes, a miserable end to rage here no more. its great story! 16 Oh, oh vow past redemption! Scene 9 Oh vision of damnation! We are repentant and we implore you, No. 23 Recitative The realm of the dying spare us your vengeance, Recitative your godly favour at last restore. High Priest consumes every being in hell’s dark abyss. Idamante 15 20 Father, my dearest father… how sweet that name Raise your eyes for a moment, your highness, High Priest Priests is!… as your son I kneel before you; at this high and see what dreadful carnage the cruel monster Great heaven, show mercy! Oh mighty ocean god, we beg you hear us: moment when I am called to die, upon the hand wreaks upon your kingdom. I tell you, every Shall innocence perish? temper your righteous anger, your holy law. which is destined to shed your very own blood street in the city has become a river of blood. At The vow was improper! as it flows through my veins, take the last kiss I every step a cry of torment as one more soul Ah, spare such a father a son’s final kiss. Chorus breathes its pain-ridden last from a poisoned body. Our prince is victorious eternal offer. I understand now, that your heartless Thousands on thousands I have witnessed with Chorus and glorious his fame shall endure! manner never was anger’s voice, but love my own eyes swallowed still alive by that Oh, oh vow past redemption! unspoken. Oh, doubly blessed, yes doubly, is the swollen, that sordid belly. And though their Oh vision of damnation! Idomeneo moment of dying, if the one who gave me life blood may choke him, the greedy monster with The realm of the dying consumes every being in What is the meaning of those happy shouts of shall take it; and in taking it shall offer it to each hour grows yet more greedy. hell’s dark abyss. victory? heaven; and if heav’n with a new life shall reward

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him; and if his people live at last in peace and (to Idomeneo) honoured; heav’n is content; the innocent are Final Scene the blessings of heaven never cease. Live and be happy! rewarded. No. 30 Recitative Idomeneo Idamante (to Idomeneo) No. 29 Recitative Idomeneo My son, my dearest son, forgive me! I love you. 24 Cretans: this shall be the last decree Idomeneo I have not chosen to perform this cruel deed: Idomeneo Idomeneo (to Idamante) will pronounce as your king: peace shall reign fate has ordained it… Blind, unyielding fare… 22 The gods show mercy! I love you. forever. My vow has been redeemed, the gods Ah no! I cannot raise the pitiless knife against Idamante placated. Now Neptune and all the powers in my blameless son… The strength is ebbing from Ilia… Creation shall bless our land. One thing remains my tormented body Scene 10 undone: that I, Idomeneo, should obey their My eyes are clouded, eyes that are sore with Ilia Ilia command. How happy, merciful heaven, am I in weeping. Oh son!… Idamante, the god’s voice. Stop, sire! What are you doing? that obedience. I, the king, give you a king, my Idamante Arbace self reincarnate. To my son Idamante, to my Idomeneo What rapture… What joy… Oh father!… Do not let pity so futile stay your I offer up the victim that I promised to Neptune. most dear son, I cede the throne of Crete and at hand; no longer be seduced by the weakness of Thank Heaven! the same time all my sov’reign rights. You shall love. Come, strike the blow that frees us both Idamante Electra respect his commands and, unflinching, obey from our anguish! Death holds no terrors; I am Ilia be silent… What fury! What madness! them, as you always obeyed and respected mine, here, ready: your holy vow of sacrifice, redeem High Priest (to Ilia) Rage and despair consume me!… for which I am grateful indeed: these words are it!… Do not disturb the holy sacrifice… How shall I bear, seeing him with my rival? law now. Here is the royal consort. Behold: this Ah no, I would rather follow Orestes’ shadow to blessed earthly couple is a gift that heav’n Idomeneo Ilia hell’s dark pit. Yes, I shall join you in your bestows upon you. Let all your fears be Oh, how your words seem to inspire me and No! I am Priam’s daughter, I am your enemy. abysmal dungeon to know eternal torment, tears vanquished! O happy, glorious people: I am the arm we with new strength. Now I am free to Highness, turn the knife on me for I shall be the past redemption. happiest! act… Now for the last time I kiss you… and kill victim. Strike, I command you! you. (The sound of thunder is heard.) No. 29 Aria No. 31 Chorus Idamante Electra Chorus Oh father!… Oh heaven!… No. 28d 23 The woes of my brother invade and destroy me. 25 Bless their love, bless their devotion, The hell fires shall gather that herald my death. bless them, noble goddess of marriage! Idomeneo Voice of Neptune Oh son!… Oh heaven!… This heart is my off’ring: consume it, you vipers, May their union give strength and courage; 21 Your love has triumphed: Idomeneo shall rule no or my earthly suff’ring I end with a knife. and may happiness be theirs. Idamante more. The king shall be Idamante and Ilia shall (Oh Ilia… alas!…) be his consort. Neptune’s pride has been © David Parry

90 91 CHAN 3103 BOOK.qxd 20/9/06 10:23 am Page 92 Clive Barda Clive Clive Barda Clive

On session: David Parry and Nicolai Gedda On session: recording in Leeds Town Hall 92 93 CHAN 3103 BOOK.qxd 20/9/06 10:23 am Page 94

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Opera in English on Chandos

Piano supplied by Opera North Piano continuo John Querns • Cello continuo Antonia Wickham • Bass continuo Paul Miller

Artistic consultant to the Peter Moores Foundation: Patric Schmid Staging director: Charles Kilpatrick Vocal and language consultant: Ludmilla Andrew Music librarian: Jacqui Compton Translation research by Henrietta Bredin

Recording producer Brian Couzens Sound engineer Ralph Couzens Assistant engineer Michael Common Editor Kathryn Beresford Operas administrator Sue Shortridge Recording venue Leeds Town Hall; 23–27 June 2003 Front cover Photograph of Bruce Ford at the Dallas Opera, © George Landis Back cover Photograph of David Parry by Clive Barda Design Sean Coleman Booklet typeset by Dave Partridge Booklet editor Kara Reed Copyright English translation © David Parry p 2004 Chandos Records Ltd c 2004 Chandos Records Ltd Chandos Records Ltd, Colchester, Essex CO2 8HQ, UK Printed in the EU CHAN 3101(2)

111 SOLOISTS/OPERA NORTH/PARRY CHAN 3103(2) Printed in the EU CHAN 3103(2) Recorded in 24-bit/96kHz Recorded LC 7038 DDD TT 149:35 bass tenor tenor tenor 2-disc set soprano soprano Idomenée mezzo-soprano Bruce Ford Bruce Clive Bayley Clive Ryland Davies Ryland Nicolai Gedda Nicolai Rebecca Evans Rebecca Susan Patterson Susan DIGITAL Diana Montague Diana (1756–1791) England • Essex CHANDOS • 2004 Chandos Records Ltd c ...... assistant conductor/chorusmaster in three acts in three Colchester ...... • TT 76:46 TT 72:49 , King of Crete...... , his son ...... COMPACT DISC ONE COMPACT DISC TWO , princess, daughter of Agamemnon...... , the King’s confidant...... , the King’s 2004 Chandos Records Ltd , Trojan princess, daughter of King PriamTrojan , ...... p Chandos Records Ltd Ltd Chandos Records Philip Sunderland Philip Parry David Orchestra and Chorus North of Opera Orchestra Dramma per musica Dramma Wolfgang Amadeus Mozart Wolfgang after Antoine Danchet’s Varesco Battista Giovanni by Libretto English translation by David Parry David translation by English Idomeneo Idamante Voice of Neptune Voice Idomeneo, King of Crete Idomeneo, Ilia Electra High Priest of Neptune Priest High Arbace

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